Titlebook: Cultural Economics; Ruth Towse,Abdul Khakee Conference proceedings 1992 Springer-Verlag Berlin Heidelberg 1992 Cultural policiy.Import.Int

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her‘s antithesis. However,the economic aspects of culture have increasinglybecome amatter of everyday reality for persons working in thecultural field. The economy of culture has always been inthe focus of political interest. Political decisionsconcerning such priority areas as the development ofreg

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Who Is the Other Woman? An Introduction Then we encounter further difficulties. Values differ from individual to individual, from group to group, from political party to political party. To seek a consensus of values is as elusive as . in Lewis Carroll’s famous poem. You may recall that the leader of that ill-fated expedition — the Bellman —

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Who Is the Other Woman? An Introductionverall issue. The proper direction of this debate should be towards examining the propriety of government funding to support the arts. In the end it must be remembered, that whatever the government finances, it also ultimately controls. Those who wish to have no fleas, should not sleep with dogs.

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Matrix and Voice in A. S. Byatt’s n this article we investigate if there is any correspondence between what ministers say and the actual art-expenditures of the state. We shall concentrate on changes in the pattern of art expenditures in the period 1966–1987 and have a look at the Nineties.

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Matrix and Voice in A. S. Byatt’s commodity, an asset or an investment good? Is art a public good, the national patrimony? This is the question of why rational consumers appear to acquire more art when prices rise, even though it has been demonstrated that capital gains on art, in the long run, lag behind returns on alternative investments.

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The Wexford Opera Festival: A Case for Public Funding?charge, of the National Symphony Orchestra. Thus there is substantial public funding of the Festival, albeit, much lower as a proportion of total income, than that for similar festivals throughout Europe.

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