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作 者:周正兵[1] ZHOU Zheng-bing(Department of Cultural Industry at the Central University of Finance and Economics, Beijing 100081, China)
出 处:《北京联合大学学报(人文社会科学版)》2017年第1期7-13,共7页Journal of Beijing Union University(Humanities and Social Sciences)
摘 要:艾伦·皮考克在文化经济学的影响在于,他以独有的方式将经济学理论与自己的文化爱好、管理与咨询实践紧密结合起来,而后者在增加其文化经济学理解的同时,却丝毫没有影响其经济学的专业精神。他的代表作《打赏艺术:文化、音乐与金钱》就是如此,这部作品将作者的经济学专业精神,与其艺术领域的经验及思考天衣无缝地链接起来,成为后世竞相赞誉甚至模仿的经典之作。在其长达50年的文化经济学学术生涯当中,他不仅塑造与建构了这个学科的基本话语体系,如文化领域财政资助的合法性、公共传播的经济学理论等基础性问题,以及表演艺术、遗产等专门领域的经济学问题;而且开拓了诸多有待开发的学术富矿,如文化资助的方式、文化领域的有效竞争等等。In 1996,Professor Sir Allan Peacock was entitled an honorary fellow of ACEI for the first time in the history of Association of Cultural Economics International for his contribution to cultural economics,which is a good proof of his status and influence in cultural economics community. The most outstanding influence of Allan Peacock is as follows:he combined his general economic theory with aesthetics,management and advisory experience of his deeply loved arts. These experiences sharpened his understanding on cultural economics while did not affect his economic professionalism. His representative work,Paying the Piper:Culture,Music and Money,combines his economical professionalism seamlessly with his experiences and thoughts on arts,is taken as a classic of cultural economics. During his half century career as cultural economics,he did not only mold the general structure of cultural economics,such as his contribution on legality of subside on arts,general economic theory of public broadcasting and some economic problems of specific cultural areas,but also exploited new subjects,including methods of cultural subsidy and "workable competition"of public broadcasting service. All above is the legacy left by Allan Peacock,which also makes him a non-ignorable figure in cultural economics,while this thesis attempts to introduce the gist of his thought with a wish to intrigue Chinese academic community to learn more and benefit more from his works.
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