Kooperativer Bibliotheksverbund

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Format: 1 Online-Ressource

ISBN: 9780444508706 , 9780444537768

Series Statement: Handbooks in economics 25

Note: Bd. 1 (2006) u. Bd. 2 (2014) im Rahmen einer Nationallizenz (ZDB-1-HBE) verfügbar

Language: English

Keywords: Kulturwirtschaft ; Musikwirtschaft ; Unterhaltungsindustrie ; Kunstökonomie ; Kulturindustrie ; Aufsatzsammlung

URL: Volltext

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Format: 1 online resource (1401 p.)

Edition: 1st ed.

ISBN: 1-280-63665-3 , 9786610636655 , 0-08-046475-0

Series Statement: Handbooks in economics, 25

Content: Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, an

Note: Description based upon print version of record. , Front cover; Title page; Copyright page; Introduction to the Series; Contents of the Handbook; Acknowledgements; Contents of Volume 1; Part 1: Introduction; Chapter 1 Introduction and Overview; 1. Introduction; 2. Behavior of individuals; 3. Behavior of firms and industries; 4. Behavior of markets; 5. Arts and culture in the economy; 6. Conclusions; References; Part2: History; Chapter 2 Art and Culture in the History of Economic Thought; Abstract; Keywords; 1. Introduction; 2. The earliest years; 3. The eighteenth century: Imitation and imagination in the Enlightenment , 4. Classical economics: The shadow of Bentham5. Humanist critics; 6. The marginal revolution; 7. The arts in American economics; 8. Keynes and the Bloomsbury Group; 9. Conclusion; References; Chapter 3 The History of Art Markets; Abstract; Keywords; 1. Approach, focus and scope; 2. Early local art markets, primary and resale; 3. Distributing paintings across markets; 4. Selling paintings I: Artist-dealer relations; 5. Selling paintings II: Auctions; 6. Coda; 7. Some developments since 1750; References; Chapter 4 The Evolution of Music Markets; Abstract; Keywords; 1. Introduction , 2. The evolution of music performance venues3. A quantitative perspective; 4. Music publishing and intellectual property; 5. The popularization of musical culture; References; Part 3: Value; Chapter 5 Defining Cultural and Artistic Goods; Abstract; Keywords; 1. Introduction; 2. Definitional issues; 3. Creativity; 4. Implications for consumers of art; 5. Conclusion; References; Chapter 6 Value and the Valuation of Art in Economic and Aesthetic Theory; Abstract; Keywords; 1. Premodern theories; 2. Art in early subjectivist theories; 3. Art in 19th century economics and aesthetics , 4. Art in economic theory until the 1970s5. Art in aesthetics until the 1990s; 6. Varieties of artistic external effects in contemporary economics; 7. Varieties of artistic value in contemporary aesthetics, and their economic valuation; 8. The logic of aesthetic and economic evaluation; References; Part 4: Legal Issues; Chapter 7 The Economic Analysis of Art Law; Abstract; Keywords; 1. Introduction; 2. Copyright and trademark issues; 3. Moral rights; 4. Resale royalties; 5. Resolving disputes over ownership of art; 6. Art market: Contract and authenticity issues; 7. Estate issues; References , Chapter 8 Copies of Artworks: The Case of Paintings and PrintsAbstract; Keywords; 1. Introduction; 2. Forgeries, copies, and reproductions. Definitions and boundaries; 3. Artists and their patrons; 4. Markets for prints; 5. Markets for paintings; 6. Copies and art historians. A renewal of interest?; 7. Regulating the market for copies; 8. Concluding comments; Appendix A: Copies and originals sold at auction 1684-1999; References; Chapter 9 Copyright, Art and Internet: Blessing the Curse?; Abstract; Keywords; 1. Introduction; 2. The example of MP3s and software; 3. A market for works of art , 4. Issues and conclusion , English

Additional Edition: ISBN 0-444-50870-8

Language: English

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Format: XXXV, 1321, 42 S , graph. Darst.

Edition: 1. ed

ISBN: 0444508708 , 9780444508706

Series Statement: Handbooks in economics 25

Note: Enth. 37 Beitr , Literaturangaben

In: Vol. 1

Language: English

Keywords: Handbuch

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Format: XXXV, 1321, 42 S.

Edition: 1. ed.

ISBN: 9780444508706 , 0444508708

Series Statement: Handbooks in economics 25,1

Note: Hier auch später erschienene, unveränderte Nachdrucke

In: 1

Language: English

Subjects: Economics

Keywords: Kulturwirtschaft ; Aufsatzsammlung

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Format: Online Ressource (1 volume) , Illustrationen

ISBN: 9780080464756 , 1280636653 , 0080464750 , 0444508708 , 9780444508706

Series Statement: Handbooks in economics 25,1

Content: Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, and the role of public policy. Following the appearance of the Baumol and Bowen work, interest in the economics of the arts grew steadily, embracing areas such as demand for the arts, the economic functions of artists, the role of the nonprofit sector, and other areas. Cultural economics also expanded to include the cultural or entertainment industries (the media, movies, the publishing industry, popular music), as well as heritage and museum management, property right questions (in particular copyright) and the role of new communication technologies such as the internet

Note: Includes bibliographical references and indexes. - Print version record , CoverFront cover -- Contents of the Handbook -- Introduction to the Series -- Acknowledgements -- Contents of Volume 1 -- Part 1: Introduction -- Chapter 1 Introduction and Overview -- 1. Introduction -- 2. Behavior of individuals -- 3. Behavior of firms and industries -- 4. Behavior of markets -- 5. Arts and culture in the economy -- 6. Conclusions -- References -- Part2: History -- Chapter 2 Art and Culture in the History of Economic Thought -- Abstract -- Keywords -- 1. Introduction -- 2. The earliest years -- 3. The eighteenth century: Imitation and imagination in the Enlightenment -- 4. Classical economics: The shadow of Bentham -- 5. Humanist critics -- 6. The marginal revolution -- 7. The arts in American economics -- 8. Keynes and the Bloomsbury Group -- 9. Conclusion -- References -- Chapter 3 The History of Art Markets -- Abstract -- Keywords -- 1. Approach, focus and scope -- 2. Early local art markets, primary and resale -- 3. Distributing paintings across markets -- 4. Selling paintings I: Artist-dealer relations -- 5. Selling paintings II: Auctions -- 6. Coda -- 7. Some developments since 1750 -- References -- Chapter 4 The Evolution of Music Markets -- Abstract -- Keywords -- 1. Introduction -- 2. The evolution of music performance venues -- 3. A quantitative perspective -- 4. Music publishing and intellectual property -- 5. The popularization of musical culture -- References -- Part 3: Value -- Chapter 5 Defining Cultural and Artistic Goods -- Abstract -- Keywords -- 1. Introduction -- 2. Definitional issues -- 3. Creativity -- 4. Implications for consumers of art -- 5. Conclusion -- References -- Chapter 6 Value and the Valuation of Art in Economic and Aesthetic Theory -- Abstract -- Keywords -- 1. Premodern theories -- 2. Art in early subjectivist theories -- 3. Art in 19th century economics and aesthetics -- 4. Art in economic theory until the 1970s -- 5. Art in aesthetics until the 1990s -- 6. Varieties of artistic external effects in contemporary economics -- 7. Varieties of artistic value in contemporary aesthetics, and their economic valuation -- 8. The logic of aesthetic and economic evaluation -- References -- Part 4: Legal Issues -- Chapter 7 The Economic Analysis of Art Law -- Abstract -- Keywords -- 1. Introduction -- 2. Copyright and trademark issues -- 3. Moral rights -- 4. Resale royalties -- 5. Resolving disputes over ownership of art -- 6. Art market: Contract and authenticity issues -- 7. Estate issues -- References -- Chapter 8 Copies of Artworks: The Case of Paintings and Prints -- Abstract -- Keywords -- 1. Introduction -- 2. Forgeries, copies, and reproductions. Definitions and boundaries -- 3. Artists and their patrons -- 4. Markets for prints. , Front cover; Title page; Copyright page; Introduction to the Series; Contents of the Handbook; Acknowledgements; Contents of Volume 1; Part 1: Introduction; Chapter 1 Introduction and Overview; 1. Introduction; 2. Behavior of individuals; 3. Behavior of firms and industries; 4. Behavior of markets; 5. Arts and culture in the economy; 6. Conclusions; References; Part2: History; Chapter 2 Art and Culture in the History of Economic Thought; Abstract; Keywords; 1. Introduction; 2. The earliest years; 3. The eighteenth century: Imitation and imagination in the Enlightenment , 4. Classical economics: The shadow of Bentham5. Humanist critics; 6. The marginal revolution; 7. The arts in American economics; 8. Keynes and the Bloomsbury Group; 9. Conclusion; References; Chapter 3 The History of Art Markets; Abstract; Keywords; 1. Approach, focus and scope; 2. Early local art markets, primary and resale; 3. Distributing paintings across markets; 4. Selling paintings I: Artist-dealer relations; 5. Selling paintings II: Auctions; 6. Coda; 7. Some developments since 1750; References; Chapter 4 The Evolution of Music Markets; Abstract; Keywords; 1. Introduction , 2. The evolution of music performance venues3. A quantitative perspective; 4. Music publishing and intellectual property; 5. The popularization of musical culture; References; Part 3: Value; Chapter 5 Defining Cultural and Artistic Goods; Abstract; Keywords; 1. Introduction; 2. Definitional issues; 3. Creativity; 4. Implications for consumers of art; 5. Conclusion; References; Chapter 6 Value and the Valuation of Art in Economic and Aesthetic Theory; Abstract; Keywords; 1. Premodern theories; 2. Art in early subjectivist theories; 3. Art in 19th century economics and aesthetics , 4. Art in economic theory until the 1970s5. Art in aesthetics until the 1990s; 6. Varieties of artistic external effects in contemporary economics; 7. Varieties of artistic value in contemporary aesthetics, and their economic valuation; 8. The logic of aesthetic and economic evaluation; References; Part 4: Legal Issues; Chapter 7 The Economic Analysis of Art Law; Abstract; Keywords; 1. Introduction; 2. Copyright and trademark issues; 3. Moral rights; 4. Resale royalties; 5. Resolving disputes over ownership of art; 6. Art market: Contract and authenticity issues; 7. Estate issues; References , Chapter 8 Copies of Artworks: The Case of Paintings and PrintsAbstract; Keywords; 1. Introduction; 2. Forgeries, copies, and reproductions. Definitions and boundaries; 3. Artists and their patrons; 4. Markets for prints; 5. Markets for paintings; 6. Copies and art historians. A renewal of interest?; 7. Regulating the market for copies; 8. Concluding comments; Appendix A: Copies and originals sold at auction 1684-1999; References; Chapter 9 Copyright, Art and Internet: Blessing the Curse?; Abstract; Keywords; 1. Introduction; 2. The example of MP3s and software; 3. A market for works of art , 4. Issues and conclusion

Additional Edition: ISBN 9780444508706

Additional Edition: Buchausg. u.d.T. Handbook of the economics of art and culture Amsterdam : Elsevier, North-Holland, 2006 ISSN 1574-0676

Language: English

Subjects: Economics

Keywords: Kunstökonomie ; Kulturwirtschaft ; Aufsatzsammlung

URL: Volltext  (Deutschlandweit zugänglich)

URL: Volltext  (Deutschlandweit zugänglich)

URL: lizenzpflichtig

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ISBN: 9780080464756

Content: This chapter presents an acknowledgement by the author to various other people, such as Orley Ashenfelter and Alan Kruege from the Industrial Relations Section at Princeton, for the help in consistently acting to ensure the very best outcome for the major projects described in this volume.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite xi, 9780080464756

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In: pages:xi

Language: English

DOI: 10.1016/S1574-0676(06)01040-4

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Content: The Economics of Superstars sets out to explain the relationship between talent and success in the arts, but there is no agreement about what this relationship is. But whatever its other features may be, superstardom means that market output is concentrated on just a few artists. Concentration always raises the question of efficiency. Superstardom may be inefficient not only because it raises prices for consumers but also because it deprives other artists of the opportunity to practice art. Artists who do not practice art lose psychic income. Because psychic income cannot be transferred from one person to another, the loss of this income may be inefficient. This chapter reviews theories of superstardom and theories about the emergence of stars. The efficiency of superstardom is discussed in terms of effects on consumers and the use of publicity rights by the star. The chapter goes on to deal with the loss of opportunities to practice art that are caused by superstardom and suggests ways to alleviate the problem. Finally the empirical literature that tests the different theories of superstardom is reviewed.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 895-906, 9780080464756

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In: pages:895-906

Language: English

DOI: 10.1016/S1574-0676(06)01025-8

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Content: This chapter is a continuation of ongoing work by economists and others on artists' labor markets and careers. It highlights the use of quasi-panel data obtained from census data to examine the employment and earnings of artists while comparing them to all the other professional and technical workers. It also provides a glimpse into what can be learned about artists' careers from true panel data. Quasi-panels from the seven most recent US censuses (1940–2000) provide a reasonably consistent set of findings in each census year. Artists are found to work fewer hours, suffer higher unemployment and earn less than members of the reference group. Over the sixty year period, disparities in unemployment and annual hours worked are found to shrink somewhat, but disparities in earnings do not. Artists earned less across all years even when only members working full-time year-round of each group are compared. The earnings of artists are found to display greater variability than those of other professional and technical workers. The National Longitudinal Survey of Youth 1979 is used to examine almost twenty years in the artists' lives and provides some insights into their careers. It suggests that many people participate in the artistic labor market, but that few succeed to the point that enables them to develop a career in the arts. In part due to their relatively high educational levels, artists are found to be able to transition from forays into arts occupations to jobs in professional and managerial occupations, not into service occupations as artist ‘mythology’ might suggest. We find that when the artists are young and struggling to make it they do work in various service occupations that tend to provide greater work schedule flexibility.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 813-864, 9780080464756

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In: pages:813-864

Language: English

DOI: 10.1016/S1574-0676(06)01023-4

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Content: The revolutionary growth in economic prosperity and technological change that underlie the “new economy” have profoundly affected the arts. They have evidently contributed new and previously unimaginable methods of dissemination and preservation. But they have even had revolutionary effects on goals and standards. They have substantially affected training. These developments also raise profound problems for financial support and pricing. The paper characterizes these developments and suggests the nature of the relationships. It also provides a brief discussion of relevant pricing principles dealing with the trade-off between encouragement of creativity and facilitation of dissemination.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 339-358, 9780080464756

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In: year:2006

In: pages:339-358

Language: English

DOI: 10.1016/S1574-0676(06)01011-8

URL: Volltext  (Deutschlandweit zugänglich)

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ISBN: 9780080464756

Content: The new technologies of digitalization and the Internet threaten the market positions of artists and intermediaries. Artists because the technology of production of works may be readily accessible and craftsmanship may no longer be a defining characteristic of art. Intermediaries because their rents are linked to entry barriers in the distribution market. This curse of new technologies may be a blessing in disguise since it also increases the possibilities of production, of distribution and the emergence of new works of art. The system of intellectual protection gives market power to artists and the economic literature has analyzed the tradeoff between the dynamic inefficiency generated by this market power and the need to preserve the incentives for creation. We review this literature and some of its recent applications to artistic, and more generally intellectual, creation. Even if artists can capture perfectly the market value of the future home production by consumers, they may favor a strong copyright regime that prevents consumers from using their home production. Intermediaries and artists may want to limit competition in order to increase the rents brought by the indivisibility of creative ideas. The preferences of artists for strong or weaker form (e.g., licensing of rights for home production) of copyright may be related to their creativity.

In: Handbook of the economics of art and culture, Amsterdam : Elsevier North-Holland, 2006, (2006), Seite 285-308, 9780080464756

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In: year:2006

In: pages:285-308

Language: English

DOI: 10.1016/S1574-0676(06)01009-X

URL: Volltext  (Deutschlandweit zugänglich)