Titlebook: Economic Perspectives on Cultural Heritage; Michael Hutter,Ilde Rizzo (Professor of Public Fin Book 1997 Palgrave Macmillan, a division of

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Economic Perspectives on Cultural Heritage: An Introductionf economic science. There had been, to be sure, several isolated contributions by economists.. But as of today, there is no consistent body of literature to set the context. Such is to be expected when a new subject begins to attract professional attention. Given this starting point, the conference

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Seven Questions in the Economics of Cultural Heritagerks of art, or whatever else, has long been a matter that has lain beyond the reach or interest of economics. Decisions as to what should be characterized as heritage, how much of it is worth keeping, and how resources should be utilized in maintaining it, have been largely the province of experts:

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The Evaluation of Cultural Heritage: Some Critical Issuesning the stock and hindering its dilapidation and worsening. Keeping up the stock creates opportunity cost as the resources involved (labour and material inputs, and in the case of historic monuments especially the sites) could be used for alternative purposes. Current funds are needed to repair and

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The Political Economy of Rehabilitation: The case of the Benedettini Monasteryery in Catania. Starting from this case, we will try to draw attention to general issues of political economy, such as the identification of the actors involved in decisions about conservation, the ways in which conservation can be carried out and the role of the consumers/users. Four questions will

Increment

Features and Recent Developments of Cultural Heritage Policy in Japanstorian. First of all my stimulation originates from my encounter with the work of Sir Alan Peacock, presented at the Symposium (Peacock, in this volume). Because I am concerned with the Japanese cultural heritage, I have also been stimulated by the work of the late Yukio Yashiro (Yashiro, 1987). As

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Tax Policies and Cultural Heritagelected in markets, that they are worth preserving (including manuscripts, musical instruments and other movable assets that may not ordinarily be thought to be works of visual art) and buildings and other structures which have artistic and historical value in themselves. I do not deny that many of t

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