scholarly journals Interorganisational networks and proximity: an analysis of R&D networks for cultural goods

2018 ◽  
pp. 53-70
Author(s):  
CAPONE, FRANCESCO ◽  
LAZZERETTI, LUCIANA
Keyword(s):  
Cultural Goods ◽  
Interorganisational Networks

Charitable giving for cultural goods: Asymmetric gender responses to votes on tax increases

2021 ◽  
Vol 204 ◽  
pp. 109879
Author(s):  
Bryan C. McCannon ◽  
Amir B. Ferreira Neto
Keyword(s):  
Charitable Giving ◽  
Cultural Goods

The Destruction of Cultural Heritage in the Kingdoms of Pontus and Kommagene during the Roman Conquest

2013 ◽  
Vol 17 (3) ◽  
pp. 239-252
Author(s):  
Tomasz Polanski
Keyword(s):  
Cultural Heritage ◽  
Urban Communities ◽  
Cultural Goods ◽  
Roman Army ◽  
Pliny The Elder ◽  
Military Campaign ◽  
The Temple ◽  
Literary Circles

In 72-69 B.C., L. Lucullus successively captured the most important urban centres of the kingdom of Pontus, and Tigranocerta in Armenia. His army also operated in the kingdom of Commagene und in Upper Mesopotamia. Lucullus’ military campaign was continued by Pompey. We come across incidental information about the scale of robbery and destruction committed by the Roman army (the statue of Autolycus by Sthennis in Sinope, the temple of Ma in Comana, the secret archives of Mithradates VI, the Roman library of Lucullus, the treasures of Darius the Achaemenid). Some objects of the plundered art appeared in public at the triumphal shows of wealth in Rome, which was perfunctorily documented by Pliny the Elder, Appianus of Alexandria and Plutarch (63 and 61 B.C.). Artworks were also acquired by functionaries of the occupying administration from urban communities and private persons through extortion and blackmail. The Roman lawyers and intellectuals worked out a set of skilful legal formulas to justify and legalise the plunder of cultural goods (ius belli, monumentum imperatoris, ornamentum urbis). Cicero, Livy and Plutarch never condemn the robbery of artworks and libraries if they were committed in the name of the Roman state. The fragmentary evidence testifies to the once flourishing literary circles of the kingdoms of Pontus and Commagene (Methrodorus of Scepsis, Athenion, the anonymous authors of inscriptions from Commagene, the epitaphs of the Bosporan kingdom).

Die identitätsstiftende Wirkung national wertvoller Kulturgüter

2021 ◽  
Author(s):  
Benita Böhm
Keyword(s):  
The State ◽  
Cultural Property ◽  
Cultural Goods ◽  
Cultural Objects ◽  
Cultural Assets ◽  
Privately Owned

The thesis determines under which conditions privately owned cultural objects have an identity-forming effect on Germany's culture and are to be entered in the so-called register of nationally valuable cultural goods. It then designs a checklist for the application of these undefined and ideologically connoted legal terms. According to the Cultural Property Protection Act, nationally valuable cultural goods are subject to an export ban. In this way, the state interferes with the freedom of ownership, since the sale of these cultural assets abroad is practically impossible and their value is diminished. The work is not only aimed at legal practitioners in the administration and courts, but above all at private owners of cultural property.

Contacts and Networks in the Baltic Sea Region

2019 ◽  
Keyword(s):  
Baltic Sea ◽  
Final Section ◽  
Religious Studies ◽  
The Baltic Sea ◽  
Cultural Goods ◽  
The Third ◽  
Baltic Sea Region ◽  
The World ◽  
History Of ◽  
The Baltic

Since prehistoric times, the Baltic Sea has functioned as a northern mare nostrum — a crucial nexus that has shaped the languages, folklore, religions, literature, technology, and identities of the Germanic, Finnic, Sámi, Baltic, and Slavic peoples. This anthology explores the networks among those peoples. The contributions to Contacts and Networks in the Baltic Sea Region: Austmarr as a Northern mare nostrum, ca. 500-1500 ad address different aspects of cultural contacts around and across the Baltic from the perspectives of history, archaeology, linguistics, literary studies, religious studies, and folklore. The introduction offers a general overview of crosscultural contacts in the Baltic Sea region as a framework for contextualizing the volume’s twelve chapters, organized in four sections. The first section concerns geographical conceptions as revealed in Old Norse and in classical texts through place names, terms of direction, and geographical descriptions. The second section discusses the movement of cultural goods and persons in connection with elite mobility, the slave trade, and rune-carving practice. The third section turns to the history of language contacts and influences, using examples of Finnic names in runic inscriptions and Low German loanwords in Finnish. The final section analyzes intercultural connections related to mythology and religion spanning Baltic, Finnic, Germanic, and Sámi cultures. Together these diverse articles present a dynamic picture of this distinctive part of the world.

Cycles in symbol production? A new model to explain concentration, diversity and innovation in the music industry

Popular Music ◽  
1995 ◽  
Vol 14 (1) ◽  
pp. 55-93 ◽  
Author(s):  
Michael Christianen
Keyword(s):  
Negative Correlation ◽  
Music Industry ◽  
The Other ◽  
Recording Industry ◽  
Cultural Goods ◽  
New Model ◽  
Advantages And Disadvantages ◽  
Factors Influencing ◽  
Using Data ◽  
The One

With the publication of the article ‘Cycles in symbol production’ (Peterson and Berger 1975) a discussion started concerning the advantages and disadvantages of the production of cultural goods under market conditions. The analysis by Peterson and Berger showed a negative correlation between concentration in the recording industry, on the one hand, and the diversity and innovativeness of the music, on the other. Repetition of the analysis using data from the 1980s (Burnett 1990; Lopes 1992) has shown that for this period Peterson and Berger's hypotheses should be rejected. Is there a connection between concentration and diversity and innovation? Are there cycles in symbol production? There seems to be no conclusive answer. In this article, I will attempt to clear up this matter. First, I will repeat the analysis of the relation between concentration and diversity/innovation, using the same model as Peterson and Berger, but with different definitions for the variables concentration, diversity and innovation. Then I will suggest a new model, which can be helpful in uncovering other factors influencing diversity and innovation in the music industry. I will come to that later. Let me first give the reader a brief overview of previous research.

Sign in / Sign up

Export Citation Format

Share Document