共查询到20条相似文献，搜索用时 31 毫秒
1.
The paper focuses on funding issues facing arts and cultural resources worldwide. Inter alia, current public policy consensus
encourages cultural resources to raise money from voluntary contributions at the gates in order to address some of the shortfall
in public funding. The paper considers the British Museum, London, as a case study. The objectives of the paper are twofold.
First, to elicit individual preferences for future managerial initiatives that could have an impact on visitors’ willingness
to financially support cultural resources by making a voluntary contribution during their visit. Second, the study combines
observed and unobserved heterogeneity in order to explain a greater source of variation on individuals’ decision-making process.
Overall, the results provide directions for government policy into widening and deepening participation for the arts and culture.
In addition, the results also provide support towards a reconsideration of curatorial procedures towards a motivational segmentation
of demand for the arts and culture. 相似文献
2.
The paper states that the quality of visual arts cannot be measured objectively. An artist must be credible to the public in order to generate economic value. How is credibility and thus economic value generated on the market? To judge the quality of arts, it takes experts. They form a worldwide network relationship and apply cultural knowledge, a highly specific type of knowledge which requires lifelong learning. Cultural knowledge is only in part of a factual nature and includes subjective elements. Since the public cannot in general ascertain the quality of an artist's oeuvre directly, experts must themselves be credible to the public in order to lend credibility to a given oeuvre. It is shown that the process by which experts generate public credibility for a given oeuvre is path dependent, i.e., may by chance end up at inferior solutions. 相似文献
3.
Dave O'Brien 《Journal of Cultural Economy》2016,9(2):127-140
This paper considers the use of evidence for government decision-making using ethnographically informed data from the lived experiences of those involved in British cultural policy. It does this in order to engage and extend work that has sought to defend bureaucratic forms of activity. The paper offers an empirical case study of how the civil servants’ ethic of office [DuGay, P. (2008) ‘Max weber and the moral economy of office’, Journal of Cultural Economy, vol. 1, no. 2, pp. 129–144] is reinforced by the identity of the social scientist. The use of social science in policy advice is a moment where the bureaucrats are able to distance themselves from political decision-making, thus reasserting an important aspect of civil service practice and identity. However, as the latter part of the article illustrates, the dynamics of cultural policy-making, in particular the use of economics, situate the role of social science as paradoxical. It is both supportive and corrosive of the bureaucratic ethic. This paradox is the basis for a critical perspective on the ethic of office as deployed in contemporary government. 相似文献
4.
Michael Rushton 《Journal of Cultural Economics》1999,23(3):137-146
This paper considers the communitarian critique of the method of economics, especially in regard to its methodological individualism, with reference in particular to cultural economics. It asks whether cultural goods can be modelled in a meaningful way under the usual assumptions in neoclassical economics about individual economic agents. Special attention is paid to Charles Taylor's critique of 'atomism', and his suggestion that some goods are 'irreducibly social'. The implications of the critique for (1) public funding of the arts, and (2) copyright policy, are considered. 相似文献
5.
This paper introduces the double public good model as a representation of the simultaneous externalities that complicate decision making in the cultural heritage sphere. Social welfare is modeled as depending on both public and private benefits of households' production of individual heritage experience, which in turn depends on the stock of historic assets (a public good) and access effort (a private good). The public benefit of private experience arises from ``shared experience' that fosters cultural identity and social understandings. The model generates marginal efficiency conditions for the amount of physical preservation, amount of access, and intensity of access. The model highlights the need for dual-level policy making in order to avoid unbalanced heritage preservation efforts that have been of some concern in the literature. 相似文献
6.
Using the neo-classical justifications for government support of the arts that Dick Netzer discussed in The Subsidized Muse as a starting point, the article contends that market failure is not an useful concept to understand and explain cultural policies and the degree of government involvement, particularly when viewed from a comparative perspective. The basic fault is that historical- institutional arrangements and the role of non-state actors in the formation of cultural policies are not taken into account. Discussing some aspects of the institutional framework in the development of French, Swedish and U.S. cultural policies, the article concludes with a call for the use of neo-institutionalist perspectives in analyzing government intervention in the arts field. 相似文献
7.
Contingent Valuation of a Cultural Public Good and Policy Design: The Case of ``Napoli Musei Aperti' 总被引：4，自引：4，他引：0
The aim of the paper is twofold: to report on theapplication of a contingent valuation survey todetermine the value to the Naples population ofmaintaining ``Napoli Musei Aperti', a cultural publicgood provided by the city of Naples, and to exploresome alternative schemes of cultural policy. The paperis divided in two parts. The first presents someresults of the contingent valuation study. The seconddiscusses the use of the contingent valuation as apolicy instrument in the public cultural sector. 相似文献
8.
9.
Our paper analyzes the conduct of German public performing arts institutions in terms of non-market decision making or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument. 相似文献
10.
Steve Globerman 《Journal of Cultural Economics》1980,4(2):15-25
Conclusions The bulk of contemporary policy concern in the cultural area is focussed on the nature of government assistance. In particular,
there is a growing feeling that indirect assistance to cultural industries should be promoted to a greater extent than it
has been in the past. This feeling reflects both the view that real levels of direct government grants may not be sustainable
and the presumption that indirect forms of assistance (such as tax concessions and the like) can channel aid to artists more
efficiently than direct forms of assistance, such as Canada Council grants to arts organizations.
The various arguments offered in favor of one or another approach towards funding cultural activities are certainly not conclusive.
The main point to be made in this regard, however, is that debate over how culture should be funded is taking place in the
absence of explicitly formulated operational objectives as well as crucial information about how the cultural production and
marketing processes operate. In this regard, ineffectual policy-making across the broad spectrum of cultural assistance programs
may be of far greater concern than any efficiency differences which might be anticipated between various forms of assistance
to the arts. 相似文献
11.
保护以北京为代表的国家历史文化名城需要与时俱进,如何以法治思维和法治方式对历史文化名城的保护工作固本强基,是当下面临的一项重要使命与重大课题。近年来全国多地的实践结果显示,公益诉讼为将历史文化名城保护纳入法治轨道提供了有效抓手,其不仅有利于激发社会公众的参与热情,而且也有助于发挥司法机关的监督力量。然而,将公益诉讼机制引入历史文化名城保护工作并非轻而易举,需要全国人大、地方政府、检察机关各司其职、齐抓共管,只有切实做到制度供给充分、政策支持到位、资源配置合理,才能为更好地保护以北京为代表的历史文化名城提供足够法治支撑。 相似文献
12.
13.
We investigate the relationship between Italian municipalities’ spending on culture in the 1990s and 2000s and a number of
political variables—such as a left/right dummy, an election-year dummy and a term-limit indicator—controlling, among other
things, for economic and socio-demographic characteristics of the population, the level of human capital and instruction,
proxies of social capital, the extent of private financing of cultural provisions and touristic and artistic relevance. We
use a panel-data regression analysis and find that, indeed, some determinants of public expenditures on culture are political.
In particular, we identify an electoral cycle in which the incumbent spends less on culture in an election year. This result
is robust for variations in the empirical model accounting for both the persistence and spatial interdependence of cultural
expenditures by municipalities. 相似文献
14.
Masaki Katsuura 《Journal of Cultural Economics》2012,36(1):49-65
This paper empirically examines how household cultural expenditures correspond to business cycles in Japan. Since income level
is among the most important determinants of cultural demand, and income fluctuates with business cycles, examining the relationship
between cultural expenditures and business cycles is useful, particularly in discussing income elasticity of cultural demand.
The data used are monthly household expenditures for movies, live performances, and cultural establishments in the Family
Income and Expenditure Survey. Turning points for cultural expenditures and related indicators are determined by estimating
the regime-switching model. The lead–lag relationship between these series and the reference dates of Japanese business cycles
are analyzed. The result indicates that cultural expenditures fluctuate cyclically with unstable leads and lags corresponding
to business cycles. In addition, cultural expenditures adhere to smaller specific cycles within officially designated expansions,
which imply that income elasticity has not been constant during past business cycles. 相似文献
15.
This paper responds to a trend of contracting out subjective well-being econometrics to demonstrate social return on investment (SROI) for evidence-based policy-making. We discuss an evolving ecology of ‘external’ research taking place ‘between’ the academy and commercial consultancy. We then contextualise this as waves of research methodologies and consultancy for the cultural sector. The new model of ‘external between’ consultancy research for policy is not only placed between the University and the market, but also facilitates discourse between policy sectors, government, the media and the academy. Specifically, it enables seductive but selective arguments for advocacy that claim authority through academic affiliation, yet are not evaluated for robustness. To critically engage with an emergent form of what Stone calls ‘causal stories’, we replicate a publicly funded externally commissioned SROI model that argues for the value of cultural activities to well-being. We find that the author’s operationalisation of participation and well-being are crucial, yet their representation of the relationship problematic, and their estimates questionable. This case study ‘re-performs’ econometric modelling national-level survey data for the cultural sector to reveal practices that create norms of expertise for policy-making that are not rigorous. We conclude that fluid claims to authority allow experimental econometric models and measures to perform across the cultural economy as if ratified. This new model of advocacy research requires closer academic consideration given the changing research funding structures and recent attention to expertise and the contracting out of public services. 相似文献
16.
Richard A. Epstein 《Journal of Cultural Economics》2003,27(3-4):259-274
Ordinary markets allow parties, not the state, to value property and projects. But they do not account for subjective value in such traditional contexts as condemnation. An awareness of these nonmarket values helps overcome any categorical opposition to the use of the contingent valuation method (CVM) to value cultural and environmental resources. But accurate CVM should measure all values, positive or negative, tononowners; it should apply generally to any substitute projects; and it should seek to account for diminishing marginal value of additional resource units. CVM should be used only to aggregate nonmarket preferences, not to skew the political debate to cultural or environmental objectives. 相似文献
17.
文化遗产是一个地区历史和文化的见证,是对历史的记录,对现代人而言是具有重要价值的历史文化资源。历史文化名城商丘,在国家相关政策引导下,积极进行有机更新。通过调研的方法,依托文化资源与旅游业相融合发展的政策背景,结合商丘的文化遗产状况分析商丘古城文化旅游建设过程的自身优势以及在发展文化旅游时存在的问题,提出发展文化旅游建设需要管理者积极转变思路,以游客需求为中心提供相关服务;进行部门合作,规范管理;政府给与产业政策倾斜,多产业融合的措施和建议,以期为商丘古城旅游建设添砖加瓦。 相似文献
18.
19.
Douglas S. Noonan 《Journal of Cultural Economics》2007,31(4):293-310
This report focuses on state government appropriations to state arts agencies (SAA), a primary figure in arts and cultural
policy in the United States. A dynamic panel-data estimator can identify the fiscal, institutional, and demographic determinants
on SAA appropriations. Agency budgets are particularly sensitive to past appropriations, past state revenues and NEA grants,
some demographic variables, party control of state government, and state budgeting rules. Federal funds attract, rather than
crowd out, state appropriations. While the influence of some demographic variables may be shifting over time, income growth
continues to explain much of SAA appropriations.
相似文献
| Douglas S. NoonanEmail: |
20.
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.
相似文献
| Luc ChamparnaudEmail: |