The purpose of this article was twofold. Firstly, to investigate the heterogeneity among artists as an occupational category and secondly, to define arts as a profession and thereby to make a distinction between professional artists and amateurs. Artists' income and working conditions have been the subject of several studies, and many different sampling criteria have been used. Scholars have not yet achieved consensus on who should be included in the profession. In this article, we make an innovative contribution to this conversation. By applying a finite mixture model, which combines latent profile and latent class analysis, we have been able to identify different segments of artists in terms of professionalism. Each of these mutually exclusive classes is characterized by a particular income and working situation. We also include a membership function, estimated through a logistic regression, which allows prediction of the probability that an individual will belong to each class, given his/her socioeconomic characteristics. The subject of our study is Danish visual artists. The dataset consists of a combination of register data from Statistics Denmark and data collected from a questionnaire survey with 892 respondents. Based on the artists’ civil registration numbers, the two sources have been merged into a unique dataset. Our finite mixture model shows the heterogeneity among artists. Combined with a theoretically definition of arts as a profession, our research propose a distinction between professional artists and amateurs that cuts across categories used in prior literature. The results can be beneficial to cultural policy.
相似文献 |
|||||||
|
|||||||
|
排序方式： 共有6条查询结果，搜索用时 15 毫秒
1
1.
Andrea Baldin Trine Bille Andrea Ellero Daniela Favaretto 《Journal of Cultural Economics》2018,42(4):677-700
Performing arts organizations are characterized by different objectives other than revenue. Even if, on the one hand, theaters aim to increase revenue from box office as a consequence of the systematic reduction in public funds; on the other hand, they pursue the objective to increase its attendance. A common practice by theaters is to provide incentives to customers to discriminate among themselves according to their reservation price, offering a schedule of different prices corresponding to different seats in the venue. In this context, price and allocation of the theater seating area is decision variables that allow theater managers to manage their two conflicting goals to be pursued. In this paper, we introduce a multi-objective optimization model that jointly considers pricing and seat allocation. The framework proposed integrates a choice model estimated by multinomial logit model and the demand forecast, taking into account the impact of heterogeneity among customer categories in both choice and demand. The proposed model is validated with booking data referring to the Royal Danish theater during the period 2010–2015. 相似文献
2.
3.
Trine Bille Hansen 《Journal of Cultural Economics》1997,21(1):1-28
In this paper some of the results of a Contingent Valuation (CV)-Study of the Royal Theatre in Copenhagen, Denmark, are presented.
The estimated aggregated willingness-to-pay (WTP) for the Royal Theatre through taxes shows that the Danish population wants
to pay at least as much as the theatre receives in public subsidies. The visitors comprise only about 7 per cent of the total
population, but the non-users' WTP is quite substantial which is the interesting point. It means that the non-users are willing
to pay an option price and that the Royal Theatre has non-use value.
This revised version was published online in August 2006 with corrections to the Cover Date. 相似文献
4.
5.
The literature of cultural economics generally finds that an artistic education has no significant impact on artists’ income and careers in the arts. In artists’ labor markets, indefinable features such as talent and artistic creativity apparently contribute more to success or higher rates of payment than education and training. In this article, we will readdress this question by looking at the artists’ survival in the arts occupations. We find it reasonable to expect than an artistic education can have a significant impact on artists’ careers because of the importance of technical skills, networks and signaling effects. We analyze the question by using a unique longitudinal dataset for five different groups of artists in Denmark, using the Cox model to apply survival functions and semi-parametric analysis. The results show, among other things, that an artistic education has a significant impact on artists’ careers in the arts, and we find important industry differences. 相似文献
6.
1
|
| 设为首页 | 免责声明 | 关于勤云 | 加入收藏 |
|
Copyright©北京勤云科技发展有限公司 京ICP备09084417号 |