Christiane Hellmanzik: Cultural Economics. Agenda Publishing, 2020

Author(s):  
Isidoro Mazza
Keyword(s):  
2021 ◽  
Vol 27 (1) ◽  
pp. 7-32
Author(s):  
Bruce A. Seaman

The intellectual development of cultural economics has exhibited some notable similarities to the challenges faced by researchers pioneering in other areas of economics. While this is not really surprising, previous reviews of this literature have not focused on such patterns. Specifically, the methodology and normative implications of the field of industrial organization and antitrust policy suggest a series of stages identified here as foundation, maturation, reevaluation, and backlash that suggest a way of viewing the development of and controversies surrounding cultural economics. Also, the emerging field of sports economics, which already shares some substantive similarities to the questions addressed in cultural economics, presents a pattern of development by which core questions and principles are identified in a fragmented literature, which then slowly coalesces and becomes consolidated into a more unified literature that essentially reconfirms and extends those earlier core principles. This fragmentation and consolidation pattern is also exhibited by the development of cultural economics. While others could surely suggest different parallels in the search for such developmental patterns, this way of organizing ones thinking about the past and future of this field provides a hoped for alternative perspective on the state of the art of cultural economics.


Author(s):  
Selina C.F. Ho

This chapter discusses the different modes of museum circuit of the three museums, and draws out the implications of the findings and the possible agendas for future research in three main areas: firstly, the effects of regulation by the state and economic agents at national, local and international levels, and in the context of cultural economics; secondly, the constitution of museum intermediaries and the capacity of their museological approaches and agency to transform the museum or/and society, together with the museum’s logic of cultural production, and cultural labour issues; thirdly, the main actors in the museum publics, the nature of their agency and its implications for cultural consumption.


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