A Handbook of Cultural Economics
'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
Lietotāju komentāri - Rakstīt atsauksmi
Ierastajās vietās neesam atraduši nevienu atsauksmi.
Management of the arts
Marketing the arts
Baumols cost disease
Corporate arts sponsorship
Costs of production
Criticism in the arts
Dealers in art
Economic impact of the arts
Fixed book price
Sociology of art
Support for artists
Value of culture
Citi izdevumi - Skatīt visu
activities allow analysis apply approach artists auction become benefits broadcasting capital Chapter choice competition considered consumers consumption copy corporate costs countries critics Cultural Economics demand direct distribution effects efficiency example existence expected firms function funding given groups heritage higher impact important income increase indicators individual industry institutions interest Internet issues Italy Journal less limited major means measures museums non-profit noted objectives offer opera orchestras organizations output paintings performing arts political possible preferences present Press problem production programmes protection publishing question record reduce regulation relatively role sector social specific studies subsidies supply taste television theatre theory tion trade types United University welfare
218. lappuse - Accordingly, the sale of copying equipment, like the sale of other articles of commerce, does not constitute contributory infringement if the product is widely used for legitimate, unobjectionable purposes. Indeed, it need merely be capable of substantial noninfringing uses.
445. lappuse - Economics is the science which studies human behaviour, as a relationship between ends and scarce means which have alternative uses" Robbins...
142. lappuse - But though a copyright is for this reason less vulnerable than a patent, the owner's protection is more limited, for just as he is no less an "author" because others have preceded him, so another who follows him, is not a tort-feasor unless he pirates his work.
20. lappuse - 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.
249. lappuse - John Synge and I were put in control. And our relations with the public were even more disturbed. One play was violently attacked by the patriotic Press because it described a married peasant woman who had a lover, and when we published the old Aran...
20. lappuse - 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.
141. lappuse - author," and, if he copyrighted it, others might not copy that poem, though they might of course copy Keats's.
66. lappuse - artistic excellence and artistic merit are the criteria by which [grant] applications are judged, taking into consideration general standards of decency and respect for the diverse beliefs and values of the American public.
223. lappuse - Contracting Parties shall provide adequate legal protection and effective legal remedies against the circumvention of effective technological measures that are used by authors in connection with the exercise of their rights under this Treaty or the Berne Convention and that restrict acts, in respect of their works, which are not authorized by the authors concerned or permitted by law.
20. lappuse - 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.
Creative Cities, Cultural Clusters and Local Economic Development
Philip N. Cooke,Luciana Lazzeretti
Ierobežota priekšskatīšana - 2008
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Understanding International Art Markets and Management
Priekšskatījums nav pieejams - 2005