In the American mind, state subsidization of writers and artists was long associated with monarchies and, in later years, socialist states. The support these regimes gave to intellectuals was understood to come with a cost, yet, beginning with the New Deal's Federal Writers', Art, and Theater Projects, a new policy consensus asserted that by offering financial support to the arts, the federal government was affirming their importance to the nation.Subsidizing Culture examines the development of and controversies surrounding federal programs that directly benefit writers, artists, and intellectuals. James T. Bennett examines four cases of such support: the New Deal's Federal Writers', Art, and Theater Projects; the vigorous promotion, in the post-World War II and early Cold War eras, of abstract expressionism and other forms of modern art by the US government; the National Endowment for the Arts (NEA), which has fortified its position as the preeminent arts bureaucracy; and the National Endowment for the Humanities, the NEA's less embattled twin, which funnels monies to scholars.Bennett concentrates on the creation of and the debate over these government programs, and he gives special attention to the critics, who are usually ignored. He reminds us that the chorus of anti-subsidy voices over the years has included such disparate figures as writers William Faulkner and John Updike; artists John Sloan and Wheeler Williams; and social critics Jacques Barzun and H.L. Mencken.

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. The field is therefore located at the crossroads of several disciplines: economics and management, but also art history, art philosophy, sociology and law. The Handbook is placed firmly in economics, but it also builds bridges across these various disciplines and will thus be of interest to researchers in all these different fields, as well as to those who are engaged in cultural policy issues and the role of culture in the development of our societies. *Presents an overview of the history of art markets *Addresses the value of art and consumer behavior toward acquiring art *Examines the effect of art on economies of developed and developing countries around the world

The 2001 second edition of this survey of the economics of - and public policy towards - the fine arts and performing arts covers arts at federal, state, and local levels in the United States as well as the international arts sector. The work will interest academic readers in the field and scholars of the sociology of the arts, as well as general readers seeking a systematic analysis of the arts. Theoretical concepts are developed from scratch so that readers with no background in economics can follow the argument. The authors look at the arts' historical growth and then examine consumption and production of the live performing arts and the fine arts, the functioning of arts markets, the financial problems of performing arts companies and museums, and the key role of public policy. A final chapter speculates about the future of art and culture in the United States.

The theme of this book is the cultural construction in Zhejiang Province under the guidance of “China Dream” policy. It reviews the profound history of traditional culture in Zhejiang, and concludes with the modern practice and achievements by the local government. It reviews policies implemented in Zhejiang for the construction of socialist core values, public cultural services and cultural industry. The methodologies applied in this book mainly are living examples, case studies and policy presentations, as well as interpretations. The book covers several important areas in modern cultural scopes such as media, ideology, history and tradition, public culture construction and culture industrialization where the “China Dream” policy has the most influences. This book presents an interesting view for scholars and policy makers to better understand the important statecraft of China.

A groundbreaking classic that lays out and defends a democratic theory of education Who should have the authority to shape the education of citizens in a democracy? This is the central question posed by Amy Gutmann in the first book-length study of the democratic theory of education. The author tackles a wide range of issues, from the democratic case against book banning to the role of teachers' unions in education, as well as the vexed questions of public support for private schools and affirmative action in college admissions.

From the authors:See the Invisible Hand. Understand Your World. That's the tagline of Modern Principles and our teaching philosophy. Nobel laureate Vernon Smith put it this way: At the heart of economics is a scientific mystery… a scientific mystery as deep, fundamental and inspiring as that of the expanding universe or the forces that bind matter… How is order produced from freedom of choice? We want students to be inspired by this mystery and by how economists have begun to solve it. Thus, we show how markets interconnect and respond in surprising ways to changes in resources and preferences. Consider, for example, how markets respond to a reduction in the supply of oil. Of course, the price of oil increases giving consumers an incentive to use less and suppliers an incentive to discover more. But an increase in the price of oil also encourages Brazilian sugar cane farmers to devote more of their production to ethanol and less to sugar thereby driving up the price of sugar. An increase in the price of sugar means a reduction in the quantity of candy demanded. So one way the market responds to a reduction in the supply of oil is by encouraging consumers to eat less candy! In analyses like this, we teach students to see the invisible hand and in so doing to understand their world. Similarly, we offer a unique and simple proof of the amazing invisible hand theorem that without any central direction competitive markets allocate production across firms in a way that minimizes aggregate costs! To understand their world students must understand when self-interest promotes the social interest and when it does not. Thus, Modern Principles has in-depth analyses of externalities, public goods, and ethical issues with market incomes and trade. Moreover, we always discuss economic theory in the context of real world problems such as the decline of the ocean fisheries, climate change, and the shortage of human organs for transplant.

First published in 1990, this investigative overview of the politics of arts’ and cultural funding examines the question of public support for the arts. Looking at both popular commercial forms of culture, including radio, pop music and cinema, and the more traditional highbrow arts such as drama and opera, Art, Culture and Enterprise was the first book of its kind to deal systematically with the politics of contemporary culture. Drawing examples from specific British venues, Justin Lewis shows how innovative projects work in practice, and considers arts marketing and the promotion of culture as an economic strategy. A particularly relevant title in the context of the debate surrounding Arts Council funding, this reissue will prove valuable for artists, administrators and students of media and cultural studies, alongside those with a general interest in the future of public art and culture.