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1.
Are Multiple Art Markets Rational? 总被引：1，自引：1，他引：0
We advance and subsequently test the proposition thatmarkets for fine art are rational, namely, that, inthe determination of price, traders make use of allrelevant art historical and critical information, asrevealed by hedonic content analysis, as well as allinformation on authenticity of the works offered forsale. If true, the proposition has consequences forpublic policy. Museums optimize choices among art historicallysignificant authentic paintings distributed asstochastic rare events in the tertiary market for art. Such paintings have few, if any, art historicallyequivalent substitutes, causing the demand for suchworks of art to be extremely inelastic. Museums tendto buy at the top of the information curve; payingprices which exceed market averages for similar art. As a result, society pays the cost of institutionalrisk aversion. In contrast, collectors often purchaseart before all art historical information is complete,and often earn a reward for assuming a risk due toincomplete information (Singer, 1991; Pomerhene, 1994).Collectors who can borrow to accumulate the highestcategory art can consume the services of their artcollection at zero cost. Stochastic transferfunctions fitted to time series of sales volume at thetwo top international auction houses confirm thehypothesis that the highest category of art is a quasisubstitute for financial instruments (liquid wealth). 相似文献
2.
胡锦涛总书记在2008年5月3日考察北大时，殷切寄语：“留学生是文化交流的使者，是增进各国人民友谊的桥梁。”《国际视野多元发展》《依华的梦》《英国青年在浙江》。这是一组反映外国留学生和青少丰在浙江学习、体验中国文化的文章及图照。多元文化的交流、交融，谱写成友谊之歌和美好篇章。 相似文献
3.
We study the incentives that museums face in determining how much resources to invest in the protection of their artwork from theft. We present and analyze a game-theoretic model of art heists that accounts for the strategic interactions between museums’ and art thieves’ decisions and that incorporates several key features of the black market for stolen art. We find that the equilibrium level of security museums choose need not be monotonic in the true market value or the black market value of artwork, i.e., increasing the value of an art piece—whether it is the true market value or the black market value—does not necessarily lead museums to invest more in protecting their artwork. The effects of parameter changes in the model that reflect a shift of public policy depend critically on what type of policy change is considered. For instance, an increase in the penalty imposed for committing art theft cannot raise the amount of theft in equilibrium and could in fact lead museums to increase their level of security. On the other hand, investing more resources on law enforcement agencies so that they are better able to solve art crimes can actually increase the amount of theft in equilibrium by causing museums to spend less on security. 相似文献
4.
2013年4月6日,浙江昆剧团在杭州举行考试,面向全国招收"第六代"传人。成立于1955年的浙江昆剧团,在原民间"国风苏昆剧团"基础上组建,曾出现过"传、世、盛、秀、万"五代同堂的兴盛时期。目前,声名卓著的"传"字辈老师已相继离开了舞台,"世、盛、秀"三辈担当起重任。本文介绍的沈世华就是当年浙昆"世"字辈演员、如今是在京授业传艺的昆曲代表性传承人。 相似文献
5.
剪纸,一直以来都是平面的,做成立体的剪纸,这是"临海剪纸"传人张秀娟近年新创的手艺。创建立体剪纸,继承和发扬了中国传统民间剪纸艺术,丰富了当代剪纸的题材、形式与内容,深得大人和孩子们的喜爱。最近,当笔者来到临海市括苍镇"临海剪纸"传人张秀娟的民间剪纸博物馆时,立即被眼前那些大幅小幅的剪纸作品吸引住了:惟妙惟肖的虫鱼花鸟兽,栩栩如生的金陵十二钗,笔力遒劲的古典诗词篇章…… 相似文献
6.
The impact of the <Emphasis Type="Italic">Droit de Suite</Emphasis> in the UK: an empirical analysis
The Droit de Suite, known in the UK as Artists’ Resale Rights, provides an artist with the inalienable right to receive a royalty based on the
resale price of an original work of art. This paper provides an empirical analysis of actual changes in the UK auction market
for art that is newly subject to the Droit de Suite (DDS) because of a change in law. All changes are measured relative to changes for art not subject to the DDS and relative
to changes in the auction markets for art in countries where there has been no change in law. We do a difference-in-difference
analysis, differencing price growth and sales growth across market segments and across countries over the period 1993–2007.
Our results suggest that the introduction of the DDS has not had a consistent negative impact on the UK art auction market
during the period of study. 相似文献
7.
前不久,央视播出了8集电视纪录片《京剧》,向广大观众展现和解读京剧艺术。我作为一个从1948年开始学演京剧、至今已有65年的京剧人,当然倍加关注,殷切期待。认真地看了首播之后,心情是欣喜的。喜的是,央视以京剧为表现对象,精心拍摄出这样一部大型纪录片,这种做法在以往是从未有过的,并且将这宗国粹艺术向世界推介,其意义重大。中国 相似文献
8.
2012年2月7日,以“青春·使命”为主题的全国第三届大学生艺术展演活动在杭州开幕。来自全国各省、市、自治区的31个代表团在6天的时间里参加声乐、器乐、舞蹈和戏剧4个项目共172个节目的现场展演。活动期间还举办了艺术作品展览、高校艺术教育论文报告会等,图为河北省代表团的大学生在开幕式上表演。 相似文献
9.
Simon Schwartzman 《Minerva》1994,32(4):440-468
Conclusion The plurality and complexity of modern science and technology require the research institutions in universities, government and even the private sector to engage in a plurality of activities, from basic to applied science, from graduate education to extension work and teacher-training. They should also be stimulated to diversify their sources of funds, from government to private companies, non-profit foundations and paying clients and students. Specialisation will take place, is necessary, and should grow through a combination of external incentives and internal drive. Scientific research and development, to remain alive, should take place in a highly internationalised and competitive environment for resources, prestige and recognition. And the leading scientists should be also entrepreneurs of this enterprise for the promotion of the growth of knowledge.An edited and abridged version of the document published by Fundaão Getúlio Vargas (Rio de Janiero, 1994). The specially commissioned papers and the references to other publications are not included here, but are listed in that document. 相似文献
10.
《Journal of International and Intercultural Communication》2013,6(3):221-243
Abstract Chinese students who come to study in the UK and their UK teachers have to adapt to cultural differences in their experience of and expectations about teaching and learning traditions and practices. Qualitative and quantitative data were obtained for Chinese postgraduate students and the staff teaching them in two Scottish universities to investigate the extent of their shared perceptions and their reciprocal adaptations. Students, especially those coming in groups, tended to deal with problems among themselves, which resulted in their teachers having limited awareness of their students’ difficulties. Several themes that emerged in relation to reciprocal adaptation are discussed. 相似文献
11.
高校的宗教学教育应立足于生命教育,成为通识教育的一个环节,而不应简单地介绍各大宗教的具体知识,要讲授各大宗教怎么理解生命,以使学生能够尽伦尽制,获得更高的、更丰富的生命支撑。宗教学教育要结合审美的方式出现,要和艺术教育相结合,把学生伟大的情感激发出来、召唤出来,使学生能够从道德中享受到美,从而达致真善美的合一境界。 相似文献
12.
记得在6月期末考试结束的那一天，辅导员忽然打电话给我，问我7月24日至8月1日这段时间是否有空，学院需要一些同学接待来杭交流的台湾学生。当时我已经安排了暑期补习，但又觉得这是一个难得的机会，可以进行两岸文化交流。考虑再三，我决定将补习天数缩短，报名参加这个活动。 相似文献
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15.
The protection of copyrights in the music industry has been of paramount concern as the popularity of digital music players,
personal websites, and file-sharing continues to grow, each of which subsequently contributes to the persistence of Internet
music piracy. While the Recording Industry Association of America (RIAA) links file-sharing to copyright piracy, others argue
that file-sharing allows maximum exposure of artists’ music which in turn increases its value. While this debate continues,
little empirical research has specifically addressed the behavioral aspects of the consumer. In this paper, we use survey
data on university students to study how attitudes toward copyright law along with economic and demographic factors affect
the extent of music copyright violations. We find that while students are responsive to economic incentives and perceptions
of risk, the extent of these incentives has not reversed the overall propensity to engage in file-sharing.
相似文献
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16.
Leslie P. Singer 《Journal of Cultural Economics》1981,5(2):39-57
Summary As is the case with other field theories, Urban Economics, Environmental Economics, etc. the microeconomics of the arts attempts to derive a set of particular propositions from the general propositions of Economic Theory. In the process a substantial amount of cross-fertilization takes place. The specific characteristics of art markets require modification or amplification of some general propositions of economic theory, which in turn may offer novel and possibly useful insights as well as testable hypotheses. The following propositions appear to emanate from the present paper.In general markets R & D efforts are directed towards product or process innovation. For the most part, a known consumer technology exists. Innovation in art markets involves product creation as well as the creation of a consumer technology capable of deriving satisfaction from consumption of the new product. In open markets, a non-patentable product would entail excessive free ridership. Such a state of affairs may discourage innovation. Primary sellers would tend to adapt to narrowly changing consumer technologies. Such was the case during most of art history up to the late 19th century. At present, museums and art critics act as quasi patent offices, which fosters innovation by assuring a positive sum game.A new consumer technology is expected to be demand-augmenting. Not necessarily in the sence of McCain [12] where discontinuous jumps in demand are postulated. Even if such shifts were to occur in individual demand curves, market demand will nevertheless be continuous. The present model presumes that the augmentation is mostly due to increasing numbers of art buyers entering as the new consumer technology casues substitution of one style for another (or one fad for another). Syndicate behavior is induced by the winners of the race who have successfully established a new consumer technology and subsequently extend an umbrella over the membership. In this manner the spoils are shared more equitably. This is a peculiarly modern phenomenon. In the past one could not put a Teniers above a Rembrandt or a Polidoro above a Raphael. The generally accepted rules of decorativeness, that is, craftmanship and composition were obvious and immediately perceptible by all.In certain instances syndicate behavior favors single leadership by an established dealer, or a small group of dealers with a proven track record in spawning new technologies. Collectors, too, are involved, by overpaying for art. The discovering collector creates entry barriers for other collectors and thus has a monopoly of discovery of purely intellectual appeal art. Followers may opt to reduce their rivalry in exchange for assurances that once the new technology is in place, they will be given the opportunity to recycle the art brought into being by the leader or leaders. Under certain conditions, as analyzed in the foregoing, this constitutes an optimal strategy.As in the classical case, entry reduces investment and drives rents to zero, if each firm invests a roughly equivalent amount in support of the prevailing consumer technology. There arises the limiting case, equivalent to pure competition (see EQ. 10). On the other hand, several counterveiling strategies are possible. For example, overpayment, as in the case of Rothko. This limits the artists' output in the market. Leftover art is donated or acquired by museums. Such art is no longer competitive, as opposed to art held by other collectors, which, diminishes art'sscarcity value.The most probable outcome of a Cournot-Stackelberg type behavior is a succession of leader-follower or leader-recyler type syndicates, each successively dissolving as new consumer technologies replace old ones. It is, of course, possible for several specialized syndicates to operate contemporaneously. The rate of turnover clearly depends on the speed of dissemination of information. The curator, critic, trustee, consultant has a vested interest in episodic art and an spawning new consumer technologies: if this were not so, there would be no need for the pre-eminance of the critic. He is the magician, the priest, the medicine man who knows the secret language and penetrates the mysteries. 相似文献
17.
在大学这个关键时期，培养学生正确的体育态度和良好的体育行为不仅对他们成功地度过大学生活有重要的意义，而且对培养学生终身体育意识与体育行为具有十分重要和现实的意义。因此，文章通过对我校体育课现状的调查分析，结合体育行为的功能及终身体育的长远目标，对如何培养学生良好的体育行为进行了探讨。 相似文献
18.
Juan Gabriel Brida Chiara Dalle Nogare Raffaele Scuderi 《Journal of Cultural Economics》2016,40(3):261-283
Some recent empirical contributions have highlighted that tourists often go to museums yet appear to extract little utility from the experience. We argue that this is often the case with agents who visit museums only while on holiday and results from a temporary lack of substitute experience goods or compliance with a must-do list. If such agents behaved according to Stigler and Becker’s rational addiction theory, they would also visit museums while at home. However, most do not, which makes them constantly occasional consumers. We indirectly test for the presence of constantly occasional museum attendance by tourists, using data from a survey conducted in 2012 at Vittoriale, the most popular museum at Lake Garda, a renowned Italian tourist destination. By applying multiple correspondence analysis to a question on motivations to visit the museum, we obtain two dimensions of motivation: one based on a search for knowledge and the other based on a more recreational attitude. Identification of the latter is a new finding in itself. We include these dimensions as regressors in a model used to explain museum attendance. We find, as expected, that light consumption negatively affects attendance. We therefore argue that empirical analyses of museum attendance should not disregard light motivation as a possible driver. 相似文献
19.
2009年8月，大陆迎来了一批特殊的客人——他们来自海峡对岸的宝岛，大多是台湾各大高校的师生。他们在中国传统历史方面颇多研习，对儒学尤感兴趣。这次大陆之行，一个主题贯穿在他们所有人的心里：重走朱子之路。 相似文献