学科群专业文献建设之"三性"要求——前瞻性、长远性、稳定性   总被引：2，自引：0，他引：2  

黄向阳 《高校图书馆工作》2007,27(6):9-11,66

学科群的建立、发展是社会对科技重要性认识的需要,高科技促进社会进步的作用已被世人共识,高校及其它研究机构都在积极应对,但高科技的产生离不开专业文献的支持,建立学科群专业文献之"三性"要求是对学科群教学、科研工作的保障,如何建设高质量的专业文献,有待探讨.参考文献3.  相似文献   

Can public arts education replace arts subsidization?     

Luc Champarnaud  Victor Ginsburgh  Philippe Michel 《Journal of Cultural Economics》2008,32(2):109-126

The debate about whether the arts should be supported or not is far from new, and most governments support the arts in one way or the other. The literature considers several arguments in favor of such interventions. Public education may seem to be an action which could, in the long run, lead to possible reductions of subsidies. Surveys show that those who have been exposed to the arts when young participate more when adult. However, the “non-market” transmission from parents to children generates an external effect, which has to be taken into account to reach first-best situations. We construct an overlapping generations model in which young consumers are exposed to both public education toward the arts and to non-altruistic transmission of such a taste from their parents. We show that the first-best can be reached only if there is both public cultural education and subsidization of arts consumption. Therefore, education cannot be considered as a substitute for subsidies to arts consumption. However, as is often the case in European countries, government intervention is usually below the first-best level. Using a model calibrated on French data, we show that it is then preferable to subsidize education, while consumption, especially of the older generations, should be taxed rather than subsidized.

Luc ChamparnaudEmail:

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Just Don’t Call It Science     

Christopher Hamlin 《Minerva》2008,46(1):99-116

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A Geohistorical Study of ‘The Rise of Modern Science’: Mapping Scientific Practice Through Urban Networks, 1500–1900     

Peter J. Taylor  Michael Hoyler  David M. Evans 《Minerva》2008,46(4):391-410

Using data on the ‘career’ paths of one thousand ‘leading scientists’ from 1450 to 1900, what is conventionally called the ‘rise of modern science’ is mapped as a changing geography of scientific practice in urban networks. Four distinctive networks of scientific practice are identified. A primate network centred on Padua and central and northern Italy in the sixteenth century expands across the Alps to become a polycentric network in the seventeenth century, which in turn dissipates into a weak polycentric network in the eighteenth century. The nineteenth century marks a huge change of scale as a primate network centred on Berlin and dominated by German-speaking universities. These geographies are interpreted as core-producing processes in Wallerstein’s modern world-system; the rise of modern scientific practice is central to the development of structures of knowledge that relate to, but do not mirror, material changes in the system.

David M. EvansEmail:

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"梅里雪山"转山朝圣风情     

黄豆米 《文化交流》2008,(7):13-16

到圣城拉萨朝拜是藏族人一生中最重要的佛事活动.在康巴地区的藏族人,他们还有另一桩重要心愿:一生中绕神山卡瓦格博转山一圈. 　　卡瓦格博是驰名中外的梅里雪山的藏语名称,是从西藏原始宗教那里而来、具有上千年历史的古老名字,它是康巴藏区最伟大的山神."梅里雪山"是现代人给它另取的已蜚声世界的新名,在世界登山界,梅里雪山属于中外登山队多次攀登却至今没能登上去的处女峰,今人因此视之为圣洁.……  相似文献   

How should cultural diversity be measured? An application using the French publishing industry     

Françoise Benhamou  Stéphanie Peltier 《Journal of Cultural Economics》2007,31(2):85-107

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.

Stéphanie PeltierEmail:

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Programmatic choices and the demand for theatre: the case of Flemish theatres   总被引：4，自引：2，他引：2  

Kristien Werck  Bruno Heyndels 《Journal of Cultural Economics》2007,31(1):25-41

Theatre experts generally agree that the Flemish theatre has flourished artistically over the period 1980–2000. Attendance, on the other hand, has declined significantly. Following Lancaster’s characteristics approach, we identify several output characteristics of individual theatre productions. Using a panel of 59 Flemish theatres, we examine the impact on demand of both these output characteristics and of traditional determinants such as own price, income and the price of substitutes. Differences in the relevant geographical market for touring and non-touring theatres are considered. We find that the nature of the artistic output affects demand. Theatregoers prefer large productions (in terms of cast size), plays by Dutch-speaking playwrights and revivals of old productions. Own price and consumer income have the expected negative and positive effects on attendance. Observed trends toward a decreasing proportion of new plays, an increasing presence of plays by Dutch-speaking playwrights, and increasing consumer income had a stimulating effect on attendance. These trends have been offset, however, by trends toward smaller cast sizes and higher ticket prices as well as by unobserved factors captured by time dummies. The net result has been a considerable drop in attendance.

Kristien WerckEmail:

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The law of one price,noise and “irrational exuberance”: the auction market for Picasso prints     

James E. Pesando  Pauline M. Shum 《Journal of Cultural Economics》2007,31(4):263-277

We use prices realized for Picasso prints at auctions worldwide, as well as the 100 prints that comprise his Vollard Suite, to test the law of one price: the proposition that identical art objects sold contemporaneously should command the same price regardless of the auction house or geographic region where the sale takes place. Picasso is the most prolific printmaker of the twentieth century and, from 1977 to 2004, his prints appreciated in price significantly faster than the prints of modern masters as a whole. We find that Picasso prints sold in the United States command higher prices than in Europe. However, prices realized at Sotheby’s in New York are no longer higher than at Christie’s in New York, nor at Kornfeld than at other auction houses. We find evidence of “irrational exuberance” in the transitory nature of the extraordinary prices realized for the Picasso prints included in the 1997 sale of the collection of Victor and Sally Ganz at Christie’s in New York. More generally, we find substantial noise in auction outcomes, a result well known to savvy auction goers.

Pauline M. Shum (Corresponding author)Email:

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Geographic clustering of economic activity: The case of prominent western visual artists   总被引：1，自引：1，他引：0  

Elish Kelly  John O’Hagan 《Journal of Cultural Economics》2007,31(2):109-128

This article compiles original data relating to artists’ place of birth and work migration patterns using various art history dictionaries. The broad historic pattern, from the 13th to the 20th century, of the birth locations of prominent artists is examined, followed by a detailed study of the work migration patterns of prominent artists in two important situations, namely Renaissance Italy and France in part of the 19th century. The evidence indicates a marked clustering of activity of prominent artists, both arising from birth location and migration patterns. Some possible explanations for the observed patterns are briefly outlined.

John O’HaganEmail:

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Two games in town: a comparison of dealer and auction prices in contemporary visual arts markets     

Michael Hutter  Christian Knebel  Gunnar Pietzner  Maren Schäfer 《Journal of Cultural Economics》2007,31(4):247-261

The article tests a couple of hypotheses relating to markets where demand is not taken as a given, but subject to sophisticated and encompassing price-building strategies. The study uses a data set that provides quoted dealer prices for medium-sized works of 100 leading visual artists from 1970 to 2004. These data are compared with auction price results for works by the same artists. The study reports significant discrepancies with respect to the relationship between the age of artists and prices paid for their works in the two markets, and with respect to general price developments in the two markets as measured by indices.

Michael HutterEmail:

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