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《Journal of Cultural Economy》2013,6(4):501-520
Modern elite charity is class-centered and exclusionary, employing charitable exchange ritual, like the primitive potlatch, for structured loss and exchange, both affirming and concealing status and power, obfuscating yet illuminating privilege. Traditional models of charitable giving are often Eurocentric and monocultural, employing a market model-based ‘exchange theory’ assuming that giving is a series of dyadic, reciprocated ‘purchases’ by donors seeking maximum utility. Looking at modern charitable giving as a ‘total social fact’ (Mauss) we can detect patterns behind elite charitable giving that make seeming relinquishment of wealth a declaration of power. Nonprofits are embedded in these dynamics as the elite gift economy expresses itself through modern charitable giving. 相似文献
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Sao-Wen Cheng 《Journal of Cultural Economics》2006,30(4):263-286
The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.
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| Sao-Wen ChengEmail: Phone: +49-271-7404534 |
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《Journal of Cultural Economy》2013,6(5):582-596
Consultants have emerged as significant actors in the assembling of culture after neoliberalism. This paper considers their role in the assemblage of the British subsidised cultural sector as part of the assembling of culture more generally. In particular, it is concerned with the status of consultants as private sector actors, which differentiates them from other forms of expertise that tend to be located in the state apparatus, in that they must earn money to resource their work and remain solvent. By placing their work of assemblage in relation to this imperative, we can understand the difference it makes. Based on a close study of a London cultural consultancy, it is argued that specific governmental and managerial trends send trajectories of value through the assemblage which the networked consultants attempt to control and capture. These economies have seen consultants contribute to the broad shift in the assemblage of culture from something that occupied a distinctive sphere requiring protection from the ravages of the market to a potential contributor to economic and social development. 相似文献
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ABSTRACT This paper examines the social construction of ‘fashionability’ – namely, what is ‘desirable’ and ‘fashionable’ – with reference to the concept ‘cultural mediators’ that foregrounds agency, negotiation and the contested practices of market actors in cultural production. It zeroes in on the cultural mediators’ attitudes and positions in the two markets by drawing on 25 in-depth interviews with industry veterans. It shows that the mediators in South Korea and China increasingly occupy hybrid occupational roles and social positions across industries and sectors yet achieve limited success in countering the status quo of Western fashion through mediation. The analysis contributes to the literature with a categorisation of seven mediation practices that shape the valuation of fashion products (i.e. ‘fashionability’) in two ways. Empirically, this categorisation illuminates how cultural mediators make reference habitually to the broader social and cultural contexts to co-construct cultural-aesthetic objects. Theoretically, it advances a cultural-economic approach to the understanding of cultural mediation and challenges the reductionist viewpoint of actor–network theory through the notion of a matrix of cultural-economic agency. 相似文献
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《Journal of Cultural Economy》2013,6(2):131-144
This paper proposes and mobilizes a cultural economic framework to study the dynamic formation of digital markets for cultural goods. Adapting Hayek's theory of price to recent developments in the field of cultural sociology, it proposes the idea that an effective price system condenses information dispersed in society, and then enters into a performative process of symbolic communication that is perceived as ‘authentic’ by the consumers. After analyzing ‘artificial’ and ‘authentic’ current strategies aimed at producing digital markets for cultural goods, which are especially sensitive to the symbolic dimension of price, the article suggests the hypothesis that the digital market has been constructed as a zero- or quasi-zero-price economic space, and that it is the offline and material market of cultural products the one that collects the higher revenues derived from the ‘authentic’ generation of value taking place in the digital marketplace. 相似文献
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《Journal of Cultural Economy》2013,6(4):462-478
This article considers the relation of audio-visual media to research in organisation studies, a scholarly market of the cultural economy. Guided theoretically by affect, audio-visual media place emphasis on mental and physical sensations that most organisation studies research, whether objective or subjective, tends to overlook or only imply. Too often, underlying disciplinary assumptions impose controls that are incompatible with the transmission of affect. Now, it is the case that those who have accumulated cultural capital within the field privilege conventions already found in the logic of the printed word. At issue is the implication that the culture of print effectually suppresses experimentation with audio-visual media as an alternative form of presentation. To illustrate the problem, I draw on first-hand experience of efforts to establish the research contribution of a short film. 相似文献
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Cultural Capital 总被引：9，自引：0，他引：9
David Throsby 《Journal of Cultural Economics》1999,23(1-2):3-12
Economists traditionally distinguish between three forms of capital: physical capital, human capital and natural capital. This paper proposes a fourth type of capital, cultural capital. An item of cultural capital is defined as an asset embodying cultural value. The paper considers usage of the term cultural capital in other discourses, notably sociology after Bourdieu, and contrasts these with the proposed usage in economics. The relationship between cultural and economic value, upon which the economic concept of cultural capital relies, is explored, and the possible implications of cultural capital for economic analysis discussed, including issues of growth, sustainability and investment appraisal. The paper concludes with some suggestions for further theoretical and empirical research. 相似文献
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《Journal of Cultural Economy》2013,6(2):161-177
The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural. 相似文献
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Victoria Ateca-Amestoy 《Journal of Cultural Economics》2008,32(2):127-151
In this paper we propose and estimate a model of theater participation using the data contained in the 2002 Survey of Public Participation in the Arts from the USA, a dataset widely used to study the determinants of cultural participation. Our contribution relies on the use of an estimation technique that respects the count data nature of the attendance variable (number of theater performances that an individual attended) and allows for heterogeneous behavior. By using a Zero Inflated Negative Binomial Model, we can characterize two distinct behaviors for the observable attendance: a group of never-goers (who never participate) and a subpopulation that has a positive probability of attending. For this latter group, we can estimate the effect of certain personal variables on the probability of highest frequency. The results suggest that the proposed model is appropriate for estimating cultural participation.
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| Victoria Ateca-AmestoyEmail: |
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全国文化中心是北京重要的首都功能.新时代北京全国文化中心建设是中国特色社会主义伟大事业全局和中国特色社会主义进程的关键一环,可以把首都北京建设成为中国特色社会主义先进文化之都、中国特色社会主义创新发展之都、中国特色社会主义对外开放之都、全球文化中心城市.以习近平新时代中国特色社会主义思想为指导,建设中国特色社会主义先进... 相似文献
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David Throsby 《Journal of Cultural Economics》1995,19(3):199-206
In this paper it is argued that systems analysis can provide a means of bringing economic and cultural systems together in a unified framework. It is then proposed that a link between economics and culture can be established through the concept of culturally sustainable development, definable in terms of a set of criteria relating to advancement of material and nonmaterial wellbeing, inter-and intra-generational equity, and recognition of interdependence. The paper suggests that conceptualising the interaction between the cultural and economic systems in these terms might provide a workable model for policy analysis. 相似文献
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Carlos A. Ulibarri 《Journal of Cultural Economics》2000,24(2):135-146
This paper develops a theory of rational philanthropyin forming ``cultural capital' and aestheticpreferences. The study maintains that changes incapital market opportunities provide investmentmotives for private and public giving. Theseimplications are examined in a Vector Autoregressive(VAR) model of funding in the arts and humanities inthe United States for the period 1966 to 1997. Theresults suggest private philanthropy increased inresponse to both lower real returns on capital marketassets and cuts in public funding. On the other hand,public funding for the endowments is not explained byany of the variables in the model, including its pasthistory. 相似文献
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Eliza Benites-Gambirazio 《Journal of Cultural Economy》2020,13(2):153-168
ABSTRACTDrawing on ethnographic observations and interviews, this paper examines the market work performed by real estate agents in a residential market. The research explores how agents are engaged in market work to sell themselves, the market and the products in order to sell houses. Agents first invest in the clients by self-presentation techniques (likeability, availability, appearance, taste). They also work to bring the clients in line with the market by making them accept the market and its hierarchies; and finally, they enable clients to conform with the market, by relying on prices as signals and taste hierarchies. They act as market devices contributing to market valuation as they are engaged in making residential choices emerge, balancing the cold reality of the market with warm relationships to foster clients' engagement in transactions. 相似文献
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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... 相似文献
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Adrian Mackenzie 《Journal of Cultural Economy》2018,11(1):36-53
Platforms are important actors in contemporary cultural economic processes. They include social network sites, online content management systems, streaming media platforms, mobile communication infrastructures, supply chain logistics solutions, and cryptocurrencies. Analysis of platforms and their capitalization should take into account the ways they structure social practice as assets and the constitutive opacity of platforms as configured realities. It explores capitalization by focusing on the problems of counting people and things on platforms. Via a case study of the software repository platform [Github.com] (https://github.com), it analyzes how 'platform numbers’ participate in capitalization. It describes attempts to enumerate the elements of the platform by counting, mapping or listing them. The paper shows how attempts to enumerate people and things encounter forms of association, duplication, combination, imitation and configuration that are crucial to the ensemble but remain refractory to capitalization. It proposes configurative enumeration of the platform numbers as a way of conceptualizing these un-enacted excesses. In a configurative enumeration, the composition, the rhythms of imitation, variation and commutation, and constant relating, repairing and adjusting of configurations crucial to the ongoing formation of platforms come into view. Configurative enumerations engage the inventive realities of platformization, realities that precede and sometimes overflow their capitalization. 相似文献
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