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1.
Welfare economics and public subsidies to the Arts   总被引：1，自引：1，他引：0  
Reprinted from Manchester School of Economics and Social Studies, December 1969, pp. 323–35 with the permission of Basil Blackwell Ltd. Professor Sir Alan Peacock (born 1922) has a distinguished career as an academic economist and public servant, chairing, among other things, the Arts Council Enquiry on Orchestral Resources 1969–70, the Committee on Financing the British Broadcasting Corporation (BBC) 1985–86; and the Scottish Arts Council 1986–92. He has written widely on cultural economics, includingThe Composer in the Marketplace (with Ronald Weir, 1975) and his autobiographicalPaying the Piper (1993) reviewed in thisJournal 18(1), 1994. He has been a member of the Editorial Board of theJournal of Cultural Economics since its inception. Reprinting this article is a tribute to his long and much valued involvement in our field.  相似文献   

2.
Reprinted fromThe Three Banks Review September 1971 pp. 3–19, by kind permission of the Royal Bank of Scotland plc. Lionel (Lord) Robbins (1898–1984) was Professor of Economics at the London School of Economics from 1929–1961 and Emeritus Professor unit 1980. He was actively involved in the arts, higher education and journalism, holding a number of prestigious posts.  相似文献   

3.
The recent industrial organization focus on transaction costs and vertical contracting within the cultural industries (Caves, R.E. 2000, Creative Industries: Contracts between Arts and Commerce. Harvard University Press, Cambridge) stands in contrast to the near abandonment of an earlier literature on horizontal firm interaction and competitive conditions within the performing arts (e.g., Throsby, C.D. and Withers, G.A. 1979, The Economics of the Performing Arts. Edward Arnold, London.; Gapinski, J.H. 1986, J.H. American Economic Review 76(2): 20–25). That incomplete but promising agenda was overwhelmed by the emphasis on non-profit arts firms acting as near natural monopolies, as reflected by Throsby himself (Throsby, D., 1994, Journal of Economic Literature 32: 1–29) and Blaug's survey (Blaug, M., 2001, Journal of Economic Surveys 15: 123–143). This paper resuscitates these earlier inter-firm hypotheses, identifies surprising contrasts with Caves' less frequent horizontal observations, and encourages a revival of interest in studying the effects of competition in the non-profit arts.  相似文献   

4.
The paintings by Canaletto (1697–1768), made with the help of a camera obscura, are just like real photographs, documenting as they do the Venice of the XVIII century with an accurate reproduction of all the details. The brown–green front left by the Laminaria, an alga living between the high and low tide, constitutes a precise biological indication of the average level of the high tide. By comparing the level of this front at Canaletto’s time with the present level, we can calculate/discover the relative sea level rise which has occurred in the last two and a half centuries.  相似文献   

5.
Gemelli  Giuliana 《Minerva》2003,41(2):115-132
This paper analyses the life and work of the historian Frederic C. Lane, Assistant Director of the Social Sciences for the Rockefeller Foundation in Europe, 1951–1954. During this period, Lane worked in close contact with Joseph Willits – head of the Social Sciences Division – and contributed to the definition of Rockefeller policies towards Europe during an early stage of the Cold War.  相似文献   

6.
The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.  相似文献   

7.
The binding media of the polychromy of Qin Shihuang's Terracotta Army   总被引：2，自引：0，他引：2  
The “Terracotta Army” is a worldwide known archaeological finding in China. It is a part of the burial complex of the emperor Qin Shihuangdi (259–210 BC), which is still under excavation and study. The fact that the sculptures, chariots and weapons of the First Chinese Emperor's Terracotta Army were originally all painted in bright colours is still not widely known. The chemical characterisation of the paint medium was performed through an analytical procedure based on GC-MS. The proteinaceous binder was identified for the first time through a desalting procedure used in proteomics. The identification of egg as a paint binder is extremely interesting in terms of the historical significance of the work of art itself and important in terms of the method of conservation. Moreover it represents one of the first steps towards an understanding of the painting technique used on ancient sculptures in China, of which – despite their fame – nothing is yet known.  相似文献   

8.
In a parallel study, it has been shown by comparison of successive TV-holography campaigns that murals in the convent of Müstair (Switzerland) have progressively detached from their substrate over a time interval of 5 years (J Cult Herit 2009). Here, we focus on the dynamics of the ongoing detachment processes. In order to regularly measure small surface displacements in situ over a long duration of several years, a new method that we call Mirror Micrometry (MM) has been designed and implemented. This method monitors the reflection of a light beam by a mirror that is mounted to the surface of interest for the duration of the experiment. The mirror is designed to rotate about a pivot as small displacements in the detaching surface occur, thus deflecting the reflected light beam. Measurements over more than three years in the Convent Church and in the Holy Cross Chapel reveal various types of surface displacement perpendicular to the wall surface. These are correlated with relative humidity (RH) changes in the room climate. Reversible short-term variations of approximately ±5–10 μm occur with periods of one to several weeks and relate primarily to weather changes. Reversible long-term variations of ±5–10 μm correspond to averaged seasonal humidity changes. Irregular and irreversible movements in increments of 20–30 μm record very localised progressive detachment steps. A semi-quantitative correlation of approximately 1 μm surface displacement per 1% RH change is calculated. Based on the fact that nearby measuring points can simultaneously move in opposite directions, a geometric model is drawn to explain deformation by hygric swelling and shrinking of different shapes of detached layers.  相似文献   

9.
The procedures for making and applying a new family of high viscosity aqueous polymeric dispersions based on poly(vinyl alcohol)-borax (PVA-borax) matrices are presented. A specific system of this type has been used to remove an oxidized varnish coating from the surface of “Coronation of the Virgin with Saints”, a 15th century egg tempera painting on wood by Neri di Bicci (Florence, 1418–1492). FTIR spectra showed that the oxidized varnish was constituted of highly aged shellac resin. Good cleaning performance was attained when the liquid portion of the dispersion consisted of a mixture of water and acetone. Rheological investigations indicate that the acetone content does not affect the mechanical properties of the polymeric dispersion. Those mechanical properties permit easy removal of the cleaning agent simply by peeling it from the surface by means of a forceps or spatula once it has carried out its cleaning function. Optical microscopic and FTIR investigations show that the cleaning agent is able to remove the oxidized varnish coating from the surface of the Neri di Bicci painting without leaving detectable residues.  相似文献   

10.
Mercury porosimetry was applied to the study of pore structure of the historic Roman cement mortars representative of different locations in Europe and time periods as well as different application techniques from architectural castings to in situ formed renders and profiles. Three categories of pores were found to coexist in the mortars. The finest pores, with diameters below 0.1 μm, are present within the hardened aged Roman cement matrix. The larger ‘air’ pores, with diameters between 0.2–2 μm, are due to the evaporation of the excess unbound water and restricted hydration. Pores larger than 2 μm are rare and, in general, can be related to microcracking induced by shrinkage drying and mortar weathering. The mortars have rarely been found to develop a dense fine-porous microstructure characteristic of the ideal conditions of moist-curing; massive architectural castings being the only exception identified. The presence of larger ‘air’ pores was, in turn, almost universally observed. The investigations of the freshly prepared Roman cement mortars have revealed that the restricted hydration could be due to the exposure of the freshly laid surface to dry real-world external environments, a high water-to-cement ratio in the original mortars, or the drawing of water from the stucco mass due to insufficient pre-wetting of the porous masonry. The insufficient reactivity of historic cements, resulting from a high content of over-burned, non-reactive cement components or coarseness of the cement grains, could be another reason for yielding poorly hydrated mortars in the past. In general, Roman cement stuccoes are in an excellent state of preservation in spite of their usual exposure to polluted urban environments for more than a century. Therefore, the coexistence of Roman cement mortars of widely different pore structures has not brought about any problems of incompatibility which field observations could reveal. The Roman cement repair materials have been found to develop pore structures similar to those of historic mortars. Therefore, they are in broad terms compatible with historic masonry or stuccoes. However, the porosity and strength of the repair materials can be controlled by a careful manipulation of the water-to-cement ratio of the mix to adapt them better to the properties of the host material.  相似文献   

11.
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12.
The scientific approach to the restoration and monitoring of mural paintings, at S. Girolamo Chapel – SS. Annunziata Church in Florence, is reported as a fruitful example of the synergic collaboration between restorers and scientists in the planning and development of conservative interventions. Before restoration, the painting technique and the state of preservation of the pictorial cycle have been investigated firstly by close examination of the painted surfaces and then by optical and/or SEM-EDS microscopy and μFT-IR spectroscopy on appropriately selected samples. In particular, the original constituent materials and those belonging to subsequent restorations were characterized together with those originating from decay processes. In this mural painting cycle, a peculiar “fresco” technique has been used although an auxiliary binder for pigment distemper has been also employed. The use of this technique, sometimes in an improper way together with uncorrected restoration interventions, are the main responsible of the unsatisfactory state of conservation of many painted areas. Preliminary conservation trials and scientific studies were carried out to design the most convenient restoration intervention and to verify the correctness and non-invasive of the necessary operations. Special attention was devoted to cleaning procedures, continuously monitored by a physico-chemical methodology, mainly based on microinvasive, microscopic and spectroscopic investigations, to evaluate the efficiency, advantages and drawbacks of the proposed cleaning procedures and define the most appropriate ones. Finally, specific decay markers have been recognized, by a comparison of the results obtained from the detached samples with those deriving from artificially aged models, to be used for a correct future monitoring and maintenance of the wall paintings.  相似文献   

13.
Science and McCarthyism   总被引：1，自引：0，他引：1  
Badash  Lawrence 《Minerva》2000,38(1):53-80
Students of the `long' McCarthy period in the United States – fromthe late 1940s through the 1950s – have paid inadequate attentionto the effects of this oppressive time upon science. Visa andpassport denials, loyalty oaths, security investigations, andother problems placed in the paths of scientists no doubthindered science. But they also increased the political maturityof its practitioners, a fact of which recent events make usparticularly aware.  相似文献   

14.
This article analyses the economic dimension of a set of activities groupedunder the heading, Culture and Leisure Industry, from three complementaryperspectives: national (Spain), sectoral and regional. Particular emphasis isplaced on determining the value added generated by this industry and itscontribution to the Gross Domestic Product – 4.5% – as wellas showing its level of employment both in absolute terms and as a percentageof the number of employees in the economy – 7.8%. This is apioneer project; studies in this field on either a national or internationalscale are scarce. The study demonstrates that the cultural sector is aproductive activity generating wealth in Spain. However, a high degree ofheterogeneity is found at both the sectoral and regional levels. Economicactivity is led by Performing, Musical and Audiovisual Arts (mainlyTelevision) and Publishing and Printing, which jointly account for about70% of sales and gross value added, and it is concentrated in similarproportions in developed regions specialized in service industries, Madrid andCatalonia, where most culture and leisure activities are available.  相似文献   

15.
Jenkin J 《Minerva》2001,39(4):373-392
The award of the 1915 Nobel Prize in physics jointly to William Henry Bragg and his elder son, William Lawrence Bragg – `for their services in the analysis of crystal structure by means of Röntgen rays' – seems to have been largely uncontroversial at the time, butthere are a number of questions that surround the award and the events that followed it that deserve exploration. This paper attempts to address these questions.  相似文献   

16.
John Roberts 《Minerva》1994,32(3):327-333
See alsoThe Universities Between Their Internal and External Enemies, Discussion,Minerva, XXXII (Summer 1994), pp. 186–221.  相似文献   

17.
Along the Umbria-Marche stretch of the Flaminia Consular Road (220 B.C.) several archaeological finds of the most important monumental works, are well preserved. The stones, employed to build many bridges, substructions and sewerages, are represented by carbonatic breccias whose geological environment of formation and source areas had never been established. On the basis of mineralogical, petrographic and micropalaeontological analyses, two groups of these lithotypes employed in Roman age were distinguished: “monogenic carbonatic breccias” only constituted by clasts of the Maiolica Unit (Late Jurassic – Early Cretaceous) and “polygenic carbonatic breccias” made of fragments (in different proportions) of Calcare Massiccio (Early Jurassic), Corniola (Early Jurassic), Maiolica (Late Jurassic – Early Cretaceous) and Scaglia Rossa (Late Cretaceous – Early Paleogene) Units. The possible source areas of the breccias are compatible with stratified slope-waste to scarp-base deposits of periglacial origin belonging to the Upper Pleistocene. In particular, among the seven investigated areas, we pointed out the most probable provenances (Monte Faeto-Colle, Costacciaro, Scirca, Foci, Secchiano) along the flanks of the Apennine Mesozoic chain of the Umbria and Marche regions. Although the Romans could have exploited the whole thickness of some outcrops (now disappeared) of these carbonatic lithotypes at the deepest part of the valleys, we have constrained a local provenance of the breccias so commonly used in the monumental works of the Flaminia.  相似文献   

18.
Mackie  Robin 《Minerva》2000,38(2):171-199
This paper examines the membership of the professionalassociation of chemical engineering in Britain – the Institutionof Chemical Engineers – during its first three decades. Usingcollective methods of biography, it explores how long it took forclear boundaries to develop between this membership and the widerchemical community. Delineation was linked to the development ofan academic discipline. This paper argues that the indeterminateconstituency of the IChemE delayed growth, but allowed it to playa key role in shaping the development of the new profession.  相似文献   

19.
Ninth International Conference on Cultural Economics Boston, Mass., May 8–12, 1996 Call for papers  相似文献   

20.
Legislation creating or reinforcing resale royalties for visual artists retains substantial political popularity – particularly in the European Union – despite the often skeptical attitude toward those rights in the economics literature. In this essay, we probe more deeply the affirmative arguments that can be made for a resale royalty right, in either a mandatory or a discretionary form. We also compare the rationale for visual artists' resale royalties with the potential rationales for the now-well-established systems of royalty rights for authors and composers. This comparison has particular interest both because some of the principal arguments made against visual artists' resale royalties also apply to authors' royalties, and because the economic rationale for compensating authors with royalties has itself not been well explored. We also discuss briefly the related subject of display rights for visual artists. We conclude with some general implications for policy.  相似文献   

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