共查询到20条相似文献，搜索用时 15 毫秒
1.
Jason Sperb 《Culture, Theory & Critique》2013,54(2):183-201
Abstract ‘Islands of Detroit’ explores the possibilities for an ‘everyday, oppositional whiteness’, a thoughtful randomness, as a corrective to ‘reactionary’ and ‘evasive’ forms of whiteness which often embed themselves in populist media sites for nostalgia. Drawing on the theoretical work of Svetlana Boym, Uday Singh Mehta and Roland Barthes, this essay looks in particular at a coffee table book, The Way it Was (2004), and its generic sentimentalism, to understand how certain white visual representations of Detroit affectively generate nostalgia, which can in turn conceal pasts and racial tensions. Looking at the history of Detroit (with particular attention on how the two infamous race riots are and are not negotiated), Islands examines visual images of the city – as opposed to the city itself – through the discursive lenses of nostalgia, modernity and affect, while positing that the histories and identities of Detroit remain irreducible to the images which attempt to capture them. 相似文献
2.
Paul Clinton 《Parallax》2013,19(3):1-4
Fax-Bak (NY) (AC Projects), by BANK, 1999 and courtesy MOT International. 相似文献
3.
Balbina Casas-Mendez Vito Fragnelli Ignacio Garcìa-Jurado 《Journal of Cultural Economics》2014,38(2):191-205
In this paper, we consider the problem, introduced by Ginsburgh and Zang (Games Econ Behav 43:322–325, 2003), of sharing the income from the sell of passes that allow the entrance in a set of museums. First, we recall some allocation rules and some properties presented in Ginsburgh and Zang (Mus Manag Curatorship 19:371–383, 2004), Béal and Solal (Rev Econ 61:1099–1109, 2010), Estévez-Fernández et al. (2010), and Casas-Méndez et al. (Eur J Oper Res 215:161–168, 2011). Then, we discuss them, finding the properties satisfied by each allocation rule. The analysis of a real-world example concludes the paper. 相似文献
4.
This paper tests whether demand for theatre in Italy is consistent with the model of rational addiction presented in Becker and Murphy (J Polit Econ 96(4):675–700, 1988). Data from a novel 34-year panel on regional annual theatre attendance are used to estimate market demand. Four models are applied to investigate the demand function, and all of these also include per capita income and other control variables as regressors. The first two models are estimated to check whether theatregoers are myopically addicted to theatre. The results suggest that the theatre is an addictive good because past consumption (and prices) significantly raises the marginal utility of current consumption. The third model tests the rational addiction hypothesis, which assumes that future attendance also influences current attendance, whilst past and future prices influence current attendance only indirectly through their impact on past and future attendances. However, our most highly specified model, introducing past and future prices, demonstrates that Italian theatregoers are not myopic but fully rational as outlined in Becker and Murphy (1988). The results demonstrate that the rational addiction hypothesis is applicable not only to “harmful” addictions such as alcohol, cigarettes and drug consumption, but also to “beneficial” addictions, such as theatre attendance. This result has important policy implications because theatre is one of the most subsidised performing arts in Italy; if theatregoers are fully rational, policy makers can influence theatre attendance using alternative policy instruments (price and income), thereby reducing government expenditure on theatre subsidies. 相似文献
5.
Ben Dorfman 《Culture, Theory & Critique》2013,54(2):103-122
Abstract This paper takes a meta‐perspective on the theoretical grounding of cultural studies since the late 1970s. It suggests a realisation of the possibilities of both classic phenomenological thought for the field and cultural studies’ continued connections to traditional cultural concepts such as Bildung and Kultur. Of particular importance are relations among cultural studies’ semiotic‐political and economic engagement with culture, phenomenological concepts of Umwelt and historical conceptions of Bildung and Kultur. While arguing that thinking through these relations provides an intellectual route forward for cultural studies, the paper recognises that such intellectual configurations also resonate with earlier models of cultural studies from the 1950s and ’60s. 相似文献
6.
Copyright holders of major manga and anime in Japan have been ignoring copyright infringement by $d{\bar{o}}jinshi$ (or doujinshi), a Japanese word referring to self-published works created predominately by amateurs. Many of $d{\bar{o}}jinshi$ are derivative works of popular anime or manga but are sold without official permissions from the copyright holders. Thus, it is highly possible that the activity of $d{\bar{o}}jinshi$ creators violates Article 28 of the Copyright Law of Japan, which states the rights of original authors in the situation of exploitation by derivative works. We demonstrate that ignoring copyright infringement by a derivative creator can be optimal for the copyright holder based on an economic model that incorporates both positive and negative externalities of derivative work. We also demonstrate that when unauthorized use of the copyrighted work is optimal for the copyright holder, it is also optimal for social welfare although the opposite is not necessarily true. 相似文献
7.
Georgios Alaveras Estrella Gomez-Herrera Bertin Martens 《Journal of Cultural Economics》2018,42(4):645-676
This paper explores new data sources on multilateral trade in films among EU countries and with the USA in offline cinema and in online video-on-demand distribution. We observe variations in trade patterns across countries and films and explore how they affect cultural diversity. We find that the EU film market is highly fragmented and cross-border film availability in cinema is low. We explore different aspects of the cultural discount hypothesis by means of a standard Helpman and Krugman (Market structure and foreign trade. Increasing returns, imperfect competition, and the international economy, MIT Press, Cambridge, 1985) trade model with economies of scale and a two-stage Heckman (Econometrica 47(1):153–161, 1979) estimation procedure. Our results show that cultural distance, success in the home market and the size of the film budget influence trade of films between countries. US films have a lower propensity to get into export markets, relative to their success in the home market. Consumer demand for imported films is relatively smaller in large EU economies, except for films imported from the USA that are only marginally affected. We also show that trade patterns in online film distribution are not fundamentally different. As online distribution occurs downstream from theatrical release, online distributors can benefit from cinema market experience to make a better selection of films. This results in a lower impact of domestic market shares on online trade patterns. 相似文献
8.
Kane X. Faucher 《Culture, Theory & Critique》2013,54(2):163-176
Abstract The frequently assumed premise that Georges Bataille engaged solely in a primarily subject‐centred critique is not here disputed; rather, our contention is that in spite of this, we may look beyond and push Bataille to his own limits to ground a kind of object‐centred critique. If this textual experiment is successful, we come to see a nascent version of transcendental empiricism at work in Bataille’s work, effectively functioning as an unacknowledged precursor to the more sophisticated and explicit version of transcendental empiricism that Gilles Deleuze engages. Our aim is to focus on Bataille’s Inner Experience as a pivotal moment wherein his critique of transcendence could go either way, and to determine whether a ‘Bataillean transcendental empiricism’ would result in different outcomes than Deleuze’s version. 相似文献
9.
Hendrik Sonnabend 《Journal of Cultural Economics》2016,40(4):529-545
Unlike Kahneman et al. (Am Econ Rev 76(4):728–741, 1986) iconic snow shovel, live music is a performance good that fans attach a particular value to. Hence, an artist’s pricing decision might differ from standard rent-seeking behavior. In this paper, I propose a model that incorporates fairness concerns into the pricing decision for concert tickets. The hypotheses derived from this model are tested on data from the German club concert industry. The results are consistent with the model: Although (1) price dispersion is the dominant pricing strategy in the club concert industry and artists prefer to perform on a Friday or Saturday night, (2) artists do not set higher prices on the weekend. These results are consistent with fairness constraints, but are difficult to explain within a standard profit maximization framework. As a third result, (3) the data reveal that ticket prices are positively correlated with a city’s number of inhabitants . 相似文献
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11.
Interprofessional education (IPE) – students of different professions learning together, from and about each other – is increasingly common in health professional degrees. Despite its explicit aims of transforming identities, practices and relationships within/across health professions, IPE remains under-theorised sociologically, with most IPE scholarship focussed on evaluating specific interventions. In particular, the significance of a shared knowledge base for shaping professional power and subjectivity in IPE has been overlooked. In this paper we begin to develop a framework for theorising IPE in allied health, by drawing parallels with a cognate area in which there has already been fruitful conceptual development: interdisciplinarity. Specifically, we offer a worked example of how the two areas may be brought into dialogue, by deploying Barry, Born and Weszkalnys’ (2008) conceptualisation of interdisciplinarity as a lens for understanding IPE. Following Barry et al. (2008) we delineate a number of ‘modes’ and ‘logics’ of knowledge-production that emerge both in IPE literature and in our own empirical study of IPE. Our empirical data are drawn from 32 semi-structured interviews with 19 allied health students participating in an IPE curriculum at one Australian university. Findings point to the emergence of interprofessional practitioner identities among students that have the potential to undermine traditional epistemological boundaries and transcend role-based distinctions in future health profession(al)s. We argue that Barry et al.’s ‘logic of ontology’ sheds light on previously unidentified processes of transformation within IPE, and offers a theoretical framework that can explain the importance of a shared pan-professional knowledge base for the reflexive individual construction of new interprofessional ontological subjects. 相似文献
12.
Godefroy Dang Nguyen Sylvain Dejean François Moreau 《Journal of Cultural Economics》2014,38(4):315-330
From a representative survey of 2,000 individuals, we study whether consumption of music through streaming services, like Spotify or YouTube, is a substitute or a complement to physical music consumption modes, such as CDs and live music. Controlling for the taste for music, various socio-demographic characteristics and the usual determinants of music consumption either offline (radio, TV, friends/relatives) or online (online recommendations, social networks), our results show that free music streaming (where the consumer does not possess the music but only has access to it) has no significant effect on CD sales and affects positively live music attendance, but only for national or international artists who are more likely to be available on streaming services. 相似文献
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14.
Yuki Takara 《Journal of Cultural Economics》2018,42(3):393-417
This study investigates the impact of cultural differences on trade decision and trade volume of cultural goods, using the data of traded music compact discs (CDs). According to ethnomusicological and civilization classifications, we classify countries into several groups and make novel variables that properly represent the cultural differences. We use the gravity model of trade proposed in Helpman et al. (The Quarterly Journal of Economics 123(2):441–487, 2008), which is utilized to avoid selection and endogeneity biases of estimation. In addition, we exploit an identifying assumption on the types of consumers, so that one of the cultural variables can satisfy the exclusion restriction in our two-stage estimation procedure. Our empirical hypothesis is that the trade volume of music is larger between two countries with greater cultural familiarity. The empirical results show that cultural differences have significant influences on the trading decision and volume of music traded in addition to the traditional determinants of trade. This finding supports our hypothesis that cultural familiarity promotes the cultural goods trade. 相似文献
15.
Expenses in the performing arts have historically increased at a rate faster than earned revenues due to the labour reliance of the sector. Flanagan (The perilous life of symphony orchestras: artistic triumphs and economic challenges. Yale University Press, New York, 2012) found that US symphony orchestras were able to avoid the negative consequences of this earning gap by fostering strong private support. In the present study, we find that, in contexts where private funding is not as readily accessible, like in Canada, arts organizations have more incentive to keep expenses under control. This can be understood in terms of resource dependence where government funding bodies, due to a homogeneous set of demands, put pressure on organizations to control their expenses and reach greater audiences. Using panel data covering a period of 8 years and forty-eight orchestras, the results show that Canadian orchestras, when compared to US ones, achieve a lower rate of expense increases over time and are more reactive to economic downturns. 相似文献
16.
Brinja Meiseberg 《Journal of Cultural Economics》2014,38(1):9-42
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well. 相似文献
17.
Frederick W. Derrick Nancy A. Williams Charles E. Scott 《Journal of Cultural Economics》2014,38(2):173-189
This paper advances the ongoing discussion of methods for predicting movie box office revenues with two contributions to the methodology and an out-of-sample test of the model. The first innovation is the development of a two-stage model using publicly available pre-release indicators to predict (1) initial week and (2) subsequent run box office revenues. To incorporate the experience-good nature of movies, the second stage is estimated by incorporating a proxy variable for box office success during the first week relative to predicted first week success. The second contribution is an empirical test of De Vany and Walls’ (J Econ Dyn Control 28:1035–1057, 2004) finding that the distribution of movie revenues has “heavy tails” and follows a non-Gaussian stable distribution with infinite variance. We estimate the two-stage model of a movie’s box office success on all general release movies in 1 year with both the Gaussian and stable distribution with heavy tails and infinite variance and find no evidence for the stable distribution in either stage of the estimation. This two-stage model is validated by comparing all general release movies in 3 future years (out-of-sample data) to the model’s predictions. 相似文献
18.
Ruth Müller 《Minerva》2014,52(3):329-349
This paper explores the ways in which postdoctoral life scientists engage in supervision work in academic institutions in Austria. Reward systems and career conditions in academic institutions in most European and other OECD countries have changed significantly during the last two decades. While an increasing focus is put on evaluating research performances, little reward is attached to excellent performances in mentoring and advising students. Postdoctoral scientists mostly inhabit fragile institutional positions and experience harsh competition, as the number of available senior positions is small compared to that of young scientists striving for an academic career. To prevail in this competition, publications and mobility are key. Educational work is rarely rewarded. Nevertheless, postdocs play a key role in educating PhD students, as overburdened senior scientists often pass on practical supervision duties to their postdoctoral fellows. This paper shows how under these conditions, postdocs reframe the students they supervise as potential resources for co-authored publications. What might look like a mutually beneficial solution at a first glance, in practice implies the subordination of the values of education to the logic of production, which marginalizes spaces primarily devoted to education. The author argues that conflicts like this are indicative of broader changes in the cultural norms of science and academic citizenship, rendering community-oriented tasks such as education work less attractive to academic scientists. Since education and supervision work are central cornerstones of any functioning higher education and research system, this could have negative repercussions for the long-term development of academic institutions. 相似文献
19.
Dimitris Papadopoulos 《Culture, Theory & Critique》2013,54(2):165-179
Abstract This article rethinks the notion of articulation as formulated in the ‘studies‐discourse’: cultural studies, gender studies, science studies. I analyse the inner workings of the concept of articulation against the background of Luis Buñuel’s film Tristana. Using the language of Spanish cultural practices, Buñuel offers the negative story of an oppressive society. The film foregrounds the role of a primordial asymmetry between the sexes in obliging articulation. This is suggestive of how articulation is interwoven with, and undone by, a radical refusal which unveils the ongoing incommensurability and inevitable disparity between the world in which we dwell and a world which remains unvoiced in the ‘studies‐discourse’: World 2, an imperceptible world which questions the fantasy of an overall and limitless emancipation inherent in the mythology of liberalism. 相似文献
20.
The analysis of social networks has remained a crucial and yet understudied aspect of the efforts to measure Triple Helix linkages. The Triple Helix model aims to explain, among other aspects of knowledge-based societies, “the current research system in its social context” (Etzkowitz and Leydesdorff 2000:109). This paper develops a novel approach to study the research system from the perspective of the individual, through the analysis of the relationships among researchers, and between them and other social actors. We develop a new set of techniques and show how they can be applied to the study of a specific case (a group of academics within a university department). We analyse their informal social networks and show how a relationship exists between the characteristics of an individual’s network of social links and his or her research output. 相似文献