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中国当代美学研究的出路 总被引:4,自引:0,他引:4
美学转型问题困扰着当代美学研究。我们从哲学文化视野中愈来愈凸显的整合趋向得到了启示 ,在方法论的关注中看到了希望。东西方平等的“对话”关系的确立是前提 ;比较研究是美学转型必经的炼狱 ;辨证思维在主体内在心灵上的运思是理论重构的必然。 相似文献
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We analyse determinants of prices for contemporary art with the help of quantitative data. The focus is on gallery rather than auction prices in the Netherlands. We model the determinants of prices on three different levels: the work of art (size, material), the artist (age, sex, place of residence, institutional recognition), and the gallery (location, institutional affiliation, age). Our main findings are that the size and material of works of art, and the age and place of residence of the artist are strong predictors of price; that differences in size and materials partly ``mask' price differences between artists; and that the variance in prices across galleries is largely explained by characteristics of the artists they represent. 相似文献
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R. B. Ekelund Jr. Rand W. Ressler John Keith Watson 《Journal of Cultural Economics》2000,24(4):283-300
Many factors affect the supply and demand characteristics of artists' output.This exploratory study focuses on a ``supply-induced' demand effect –the death of the artist and the assurance that, from the perspective of thedurable goods monopolist, the output of the artist ends. While not purportingto be a formal test of that proposition, we observe, using U.S. auction data,a clustered rise in artists' values immediately around the time of death andsuggest some possible demand-side explanations using a sample of LatinAmerican artists between 1977 and 1996. 相似文献
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The major distinctive feature of cultural goods is that consumers must learn how to consume them, implying that preferences should be modelled as intertemporally dependent. The canonical model in the literature uses a habit formation analogy. In this paper, we discuss in detail, though in the simplest setup, a consistent preference structure for that model. Then, we derive the implications for the dynamics of two aggregate equilibrium models, a fixed price model and a flexible price model. The learning-by-consuming behaviour is characterised by a preference structure displaying bounded adjacent complementarity in the demand for the cultural good. This implies that there will be short run complementarity between the stocks of culture and financial wealth and that the adjustment of the demand for cultural goods, or of their relative price, will have some inertia. In the exogenous price model, we find that increases in income will raise the long run demand for cultural goods while increases in the relative price will decrease it. In the endogenous price model, an increase in the supply of cultural goods will imply an initial undershooting of the price of cultural goods followed by an upward transition process. Our results seem to be consistent with the empirical results on the demand for cultural goods and seem to offer an explanation for the Baumol and Bowen paradox.JEL Classification: Z1, E21Earlier versions of this paper have been presented at the 1st Conference of the Sociedade Portuguesa de Investigação em Economia (SPiE, 1997) and at the Xth Conference of the Association for Cultural Economics International, 1998, Barcelona. 相似文献
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In the paper we develop some price indices for the secondary market forprints and drawings in Italy for the period 1977–1999. Theempirical evidence suggests the emergence of causal links from thepainting series and consumer price series to the print and drawingsprice series. Within the secondary market, the drawings price seriesprecedes the print price series. 相似文献
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随着影片《村支书郑九万》的热映,为民好支书郑九万成了“大名人”。连头一回来温州的一位台湾艺人也语出惊人:‘哉太知道温州的雁荡山和郑九万了!听说是个活雷锋啊,太有名了!” 相似文献
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Arjan van Rooij 《Minerva》2013,51(1):25-48
This article aims to clarify and improve thinking on normative government laboratories: partly publically funded laboratories that work to improve the functioning of society, particularly through boosting innovation. This article focuses on a case study of TNO, a large Dutch laboratory, and an exemplary case of this type of laboratory. This article argues that TNO is perceived as a plug to fill a gap between knowledge production and use, in a belief that there is a direct and causal link between laboratory knowledge production and use. As a plug to fill a gap, however, TNO, and laboratories like it, can never perform satisfactorily, making an enduring cycle of negative performance evaluations and major reorganizations inevitable. This article suggests that a network model of innovation might provide a way out of the impasse. 相似文献
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当我们翻开这一期《文化交流》杂志的时候,2015年已翩然而至。在此,我谨向关心支持《文化交流》杂志的各级领导、各界人士和广大读者表示衷心的感谢,并祝大家新年快乐! 相似文献
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The rationale for urban government action for arts funding 总被引:1,自引:0,他引:1
Abdul Khakee 《Journal of Cultural Economics》1988,12(2):1-18
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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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Summary Our recommendation is that Europe and the EC should proceed with caution before implementing extensive mandatory television content policies. In the foregoing, we have attempted to outline the reasons why we feel content policies have not worked in the past in Canada, and why they will face increasing difficulties wherever implemented. The reasons are administrative, technological and financial. In addition we are not convinced by the economic rationales for content policy. However we do recognize the right of governments to pursue cultural policies similar to those represented by content policies, and elsewhere we have proposed alternative courses of action for governments to consider.Aside from tracing the evolution of Canadian content policies, our research has examined government funding of films and programs, the use of coproduction treaties and coventures and evolving technological considerations.(22) At present we are examining managerial aspects of film making and television production and distribution in the current international environment.Carleton University 相似文献
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