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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: |
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Jan De Houwer 《Learning & behavior》2009,37(1):1-20
Dickinson (2009) agrees with two of the core claims that were made in my target article (De Houwer, 2009): Associative learning
effects (often) depend on (1) the formation of propositions and (2) the operation of nonautomatic processes. Whereas I derived
these claims from propositional models of learning, Dickinson (2009) argues that they are also compatible with association
formation models (AFMs). He also defends the position that only AFMs can explain “nonrational responses to associative experiences.”
In this comment, I question whether there is much value in continuing to cling to AFMs. 相似文献
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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
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.
相似文献
John O’HaganEmail: |
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