By Bruno Frey (auth.), Alan Peacock, Ilde Rizzo (eds.)

Cultural Economics and Cultural Policies deals a distinct advisor to the cutting-edge in cultural economics. First, it indicators students and scholars to the need for cautious definition and dimension of the `cultural sector'. moment, it provides examples of the way monetary research can make clear the inducement of artistic and acting artists and of creative organisations. 3rd, Cultural Economics andCultural Policies widens the dialogue of public coverage in the direction of the humanities past basic monetary appraisal of arguments for presidency monetary help. It does so by means of contemplating the government's function in defining estate rights in creative items and in regulating in addition to financing the humanities; interpreting how the standards for presidency aid are literally utilized. Cultural Economics and CulturalPolicies may be of curiosity to economists, scholars and coverage makers.

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The definition of cultural activities to be financed, the justification for public intervention and its evaluation represent very controversial issues already analysed by other contributors to this book. However the arts are also financed by individual donations and, in this paper, the focus is on this voluntary activity of support to the arts. Private giving historically represents a fundamental financial resource for the arts in the U. S. (see Katz 1991), Australia and Canada (see Frey and Pommerehne, 1989) while in Western Europe - with the important exception of Great Britain (see Towse, in this volume) - the cultural sector chiefly relies on public contributions.

In cases where there is a positive social reaction to private giving, resulting in an increase of the donor popularity, we can also find economic advantages for the latter; and philanthropic givers can be joined by more egoistic art supporters. Probably some donors - the patrons - will be more interested in the preservation and diffusion of a cultural heritage than in the potential economic returns of their popularity; they may also receive a psychological satisfaction from being recognised as supporters of young artists or promoters of new forms of art, etc.

And, considering the comparative perspective, such a problem becomes more complex if we have to deal with evaluations related to cultural activities provided in different regions or countries. Finally, it must be noted that even when we simply deal with quantitative data a problem of correct comparison is present. For example are per capita comparisons the most straightforward way to "solve" our problem,lo or is this simply a convenient way to circumvent difficulties of measurement or evaluation?

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