清代州县衙门经费

本文通过对清代州县衙门经费的量化分析,发现州县衙门经制性经费与实际所需之间有很大的差距.清廷虽然试图解决这一问题,但终清之世,效果寥寥.因此,州县官为了保障政务活动的进行,不得不采取征收田赋附加、差徭、杂税盈余等手段加以补苴,结果使百姓的负担日益加重.     

Investments in Scientific Research: Examining the Funding Threshold Effects on Scientific Collaboration and Variation by Academic Discipline

This paper seeks to examine how federal financial support of academic scientists shapes their collaborative behavior. More specifically, it investigates two questions: (i) are there threshold sizes of federal grants that have effects on collaboration? and (ii) do the threshold sizes differ by discipline? To test and model these questions, this paper uses data collected in a 2004–2005 survey by the Research Valuing Mapping Project (a project based at Georgia Tech and led by Barry Bozeman) of 2,086 academically based research scientists and engineers. The analysis in this paper reaffirms the positive relationship between federal funding and collaboration seen in previous works, but the findings suggest that there is in fact a threshold effect—as the positive relationship has a diminishing influence. The findings of this paper are more limited with respect to how academic disciplines’ threshold levels differ. The results indicate a difference in the threshold levels between disciplines for three of the eight models.     

Putting the “art” back into arts policy making: how arts policy has been “captured” by the economists and the marketers

Abstract: This paper explores the current discourse about arts policy and funding and its placement within an economic paradigm. The models of “cultural industry” and “creative industry” are explored and how they affect arts funding discourse. Similarly the impact of the introduction of the language of industry and business to the arts sector is considered. If bottom-line arguments are used by funders, governments and critics to argue the merits or otherwise of arts activity, how does this affect arts practice? In recent times arts funding agencies have been restructured to reflect a market-driven agenda rather than an arts-driven agenda. The impact of all these issues is considered in the context of Australian arts' models in particular, but with reference to examples in the United Kingdom and the United States of America. The paper concludes with suggestions for a reassertion of core cultural values in future discourse.     

When is a museum a public museum? Considerations from the point of view of public finance

This article considers the scope and types of support given through the system of museum public finance in the USA as well as the attitudes to support this system reflects. This examination provides a deepened understanding of the significance of ties between museums and government that are mediated by dollars. The degree of directness through which government dollars are delivered to a museum tells us something important about the museum’s public status. But several other contextual factors also influence this status; money has dimensions of significance that can only be understood by looking at characteristics of the institutions, mechanisms, and systems through which it moves. In other words, money, in a policy system, does not express strictly numerate relations. The article concludes by pointing up ways that an acknowledgement of this multivalence of money can be valuable for developing nuanced theory about the relationships between cultural economics and cultural policy.     

The continuing saga around arts funding and the cultural wars in Australia

Cultural policy, and arts funding in particular, has been a site of much contention and discussion in Australia over the past decade. The events of the past two years took this to another level showing major ideological schisms in the present political approach. While the established arts sector was protected and consolidated, the emerging sector, individual artists, and small organisations were all negatively affected. The policy changes demonstrate the implicit challenges of direct political intervention in arts funding. What this period highlights also though is the vulnerability of artists and the philosophical contradictions around the nature of arts funding.     

Behind the scenes of public funding for performing arts in Italy: hidden phenomena beyond the rhetoric of legislation

This paper focuses on how Italian performing arts organizations were funded between 2003 and 2005. How does policy regulate the financing system for performing arts? What are the underlying logics that govern financing choices? In this paper the authors move beyond the simple examination of formal policies by analysing the funding data and organizational routines of the ministerial offices responsible for the allocation of grants. The authors implemented a multi‐method research methodology consisting of document analysis, in‐depth interviews, and quantitative analysis of funding data. The main findings can be summarized as follows. First, funds are continuously allocated to the same group of organizations. Second, although rigid, the system is imbued by a ‘rhetoric of the project’. Third, the system does not reward innovation. In conclusion, only by studying how the law is actually implemented can one capture the choices that underlie financing actions, and thus unravel unanticipated outcomes and inconsistencies between rhetoric and conduct.     

Funding the ‘nation’ in the national theatre of Scotland

The National Theatre of Scotland (NTS) is a an innovative and ground‐breaking, non‐building‐based, commissioning and producing cultural institution, established in the wake of the devolution of the Scottish Parliament. This article sketches the contours of this new model of a national theatre, exploring the complex dialectic between various economic, political, social and artistic choices, forces and factors that have influenced, and continue to influence, the formative years of the NTS. The article charts changes to the company during these early years and, most significantly, notes the potential effect that the change from arm’s length to direct government funding might have on the company’s long‐term development. It is argued that direct funding aligns the arts too closely to political agendas rather than supporting artistic freedom and expression.     

Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This examination is timely given Australia’s former Minister for the Arts George Brandis’s 2015 shock annexation of Australia Council funding: $104.7 million was originally to be transferred from the Australia Council to the newly established National Programme for Excellence in the Arts (NPEA). This body represented a move away from the ‘arms-length’, independent peer-reviewed funding decisions with the arts minister having the ultimate authority with regard to the NPEA. The NPEA has now been renamed Catalyst – Australian Arts and Culture Fund (Catalyst) as a result of consultations and feedback relating to the NPEA.     

学术自由与制度保障——以中央研究院为例

民国时期的中央研究院,从创制思想、机构设置到制度运行,逐步形成了一套较为完备和运行良好的学术自由制度体系.这样的安排,使中央研究院成为近代中国充分尊重学术自由,并予以制度保障的典范.但是,由于国民政府的干预,加上各种因素的影响,中央研究院事实上所能维护和保障的,也只能是院内的一片"自由"的天空.     

“Aufrechterhaltung der gemeinsamen Kultur”. Die Deutsche Forschungsgemeinschaft und die Österreichisch‐Deutsche Wissenschaftshilfe in der Zwischenkriegszeit

“Maintaining a Common Culture” – The German Research Foundation and the Austrian‐German Scientific Aid in the Interbellum. After the end of the Great War, private as well as public research funding in Austria was anaemic and slow to develop. Whereas the German state‐funded Deutsche Forschungsgemeinschaft (DFG) was established as early as 1920, first steps in that direction were only taken in Austria in the late 1920s. In 1929, the Österreichisch‐deutsche Wissenschaftshilfe (ÖDW) was founded under the auspices of the Austrian Academy of Sciences and the DFG. Although prima facie on an equal footing, the new research funding organisation was in fact highly dependent on its German cooperation partner. The article explores for the first time ÖDW's position within the German and Austrian science and foreign policies, which aimed to promote the idea of unification of both states within the German Reich. A quantitative analysis of the subsidies policy in the first five years of existence shows that the ÖDW gave financial aid primarily to conservative research fields‘ affecting the intellectual balance of power in the First Austrian Republic. Policy continuities and discontinuities of the organisation in the course of the national‐socialist rise to power in Germany after 1933 are examined in the second part of the article. The article thus both increases our knowledge about the most important German research funding organisation DFG‘ and identifies some of the fundamental structural features of Austrian science policy in the interwar years.