A Handbook of Cultural EconomicsRuth Towse 'Ruth Towse is to be congratulated on assembling such a high quality range of writers on cultural economics and on orchestrating their contributions so expertly. From anthropology and auctions through copyright and superstars to visual arts and welfar |
Contents
| 15 | |
| 20 | |
| 32 | |
Art markets | 40 |
Art prices | 57 |
Artistic freedom | 64 |
Artists labour markets | 69 |
Artists rights | 76 |
Information goods | 263 |
International trade | 269 |
Internet culture | 276 |
Internet economics | 281 |
Management of the arts | 287 |
Marketing the arts | 293 |
Media economics | 301 |
Motion pictures | 306 |
Awards | 81 |
Ballet | 85 |
Baumols cost disease | 91 |
Broadcasting | 102 |
Cinema | 114 |
Contingent valuation | 119 |
Copyright | 132 |
Corporate arts sponsorship | 143 |
Costs of production | 152 |
Criticism in the arts | 161 |
Cultural capital | 166 |
Cultural industries | 170 |
Cultural statistics | 177 |
Cultural sustainability | 183 |
Cultural tourism | 187 |
Dealers in art | 194 |
Demand | 201 |
Digitalization | 214 |
Economic impact of the arts | 224 |
Festivals | 232 |
Fixed book price | 237 |
Gift economy | 243 |
Globalization | 248 |
Heritage | 255 |
Museums | 315 |
Music business | 321 |
Nonprofit organizations | 331 |
Opera | 342 |
Orchestras | 349 |
Participation | 356 |
Performance indicators | 366 |
Principalagent analysis | 373 |
Public choice | 379 |
Public support | 389 |
Publishing | 399 |
Regulation | 408 |
Sociology of art | 415 |
Superstars | 431 |
Support for artists | 437 |
Taste formation | 445 |
Tax concessions | 451 |
Television | 458 |
Value of culture | 465 |
Visual arts | 470 |
Welfare economics | 476 |
| 483 | |
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Common terms and phrases
activities analysis art market artists arts institutions auction ballet Baumol Baumol's cost disease behaviour benefits broadcasting Cambridge cent Chapter choice cointegration commercial competition consumers consumption Contingent Valuation corporate countries creative Cultural Economics cultural industries cultural policy cultural sector cultural tourism dealers demand distribution economists Edward Elgar effects efficiency example factors festivals film firms fixed book prices funding galleries global heritage important incentive income increase indicators individual inputs Internet Journal of Cultural labour marginal market failure media economics museums nomic non-profit opera output paintings performing arts political price discrimination problem production profit programmes publishing record company regulation rent-seeking resale price maintenance revenues role social specific studies subsidies taste television theatre theory Throsby tion Towse trade tural University Press welfare economics
Popular passages
Page 20 - The pecuniary recompence, therefore, of those who exercise them in this manner, must be sufficient, not only to pay for the time, labour, and expense of acquiring the talents, but for the discredit which attends the employment of them as the means of subsistence. The exorbitant rewards of players, opera-singers, opera-dancers, etc.
Page 20 - It seems absurd at first sight that we should despise their persons, and yet reward their talents with the most profuse liberality. While we do the one, however, we must of necessity do the other. Should the public opinion or prejudice ever alter with regard to such occupations, their pecuniary recompense would quickly diminish.
Page 20 - Should the public opinion or prejudice ever alter with regard to such occupations, their pecuniary recompense would quickly diminish. More people would apply to them, and the competition would quickly reduce the price of their labour. Such talents, though far from being common, are by no means so rare as is imagined. Many people possess them in great perfection, who disdain to make this use of them; and many more are capable of acquiring them, if anything could be made honourably by them.