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ABSTRACT. Nearly all regional input-output models have been constructed without a proper accounting of inflows and outflows of personal income and personal consumption expenditures. Typically invoked is a no cross-payments assumption, analogous to the no cross-hauling assumption for commodities. We present a new accounting framework based on the classification of flows according to the location of income generation, receipt, and spending, and argue that only flows endogenous in all three respects should be part of a closed regional I-O model. We use the framework to compute the upward bias in multipliers in a typical regional I-O model. We also present several methods for estimating transboundary flows. 相似文献
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Journal of World Prehistory - This paper analyses and re-evaluates current explanations and interpretations of the origins, development and societal context of metallurgy in the Balkans (c.... 相似文献
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南宁市房地产价格分布规律的机助制图研究与开发方向的探讨 总被引:1,自引:0,他引:1
南宁市房地产业经历了由沉寂、复苏、火爆到稳步发展的过程.各公司开发的房屋类型相近,但价格差异却很大,价格分布呈现明显的规律性:一是城市中心价格高,边缘与郊区价格低;二是东部城区价格高,西部城区价格低.主导价格分布规律的三大影响因子是地理位置、交通便捷程度和生态环境质量.南宁今后的房地产开发和城市规划建设一要顺应价格分布规律,优地优用、保障房地产开发的高效益;二要加强交通设施建设和环境保护.促进全市房地产的升值;三要因势利导,发展城市副中心,逐步形成多中心的城市建设格局。 相似文献
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In the southeastern United States, operators of plantation museums have traditionally engaged in a selective and romanticised remembrance of the antebellum past that has regrettably silenced and marginalised the historical experiences and struggles of enslaved African people. More recently, some plantation managers have sought to engage in the ‘memory-work’ using artistic practices to reconstruct and interpret slavery heritage for visitors. Our study explores museum theatre as a form of memory-work and suggests that theatrical performances of the memories of enslavement are an increasingly important but not yet fully understood strategy for recovering, embodying, and representing a different and hopefully more just narrative about enslaved Africans. We visit three plantation museums where managers hosted a theatrical performance of enslaved oral histories and explore the motivations and experiences of managers and the director of the slave performance. Realising the power and efficacy of theatrical performance as memory-work practice requires understanding how the management of the interpretation process can be difficult. We delve into the emotion-laden challenges confronting slavery-related museum theatre development at the North Carolina plantations and discuss the creative response formulated at the sites to help visitors work through unexpected feelings and understandings about the past. 相似文献