Economics and Law of Works of Art in the Single European Market

This paper is concerned with the economic analysis of the European rules on the circulation of works of art. After reviewing the relevant literature, an economic framework of the international circulation of works of art is provided (social goals, efficiency and distributive aspects, an economic rationale for a general free trade rule integrated by selective protectionism). Using this framework the European system of circulation of works of art—resulting from the combination of the Maastricht Treaty with Regulation 3911/92 and Directive 93/7—is analysed. The main results of the analysis are: 1) the general free trade principle ruling the Single European Market is strongly limited by rules protecting national artistic heritages of member states; 2) this protectionism—working towards countries both outside and inside the European Union—is applied according to the national laws of each member state, while, contrary to what the Maastricht Treaty would call for, an artistic heritage of European significance is not defined and no autonomous role is recognized in this field to European Institutions; 3) this system shows some inconsistencies with economic theory, as strict limits to trade are not provided when they should be required by the preservation of the physical or artistic integrity of works of art, while in other cases an unduly restrained trade may derive from highly protectionist national laws and export-licencing policies of member states. Enforcement provisions are also analysed and some proposals to improve the system are advanced.     

Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.     

《孙子兵法》与处置群体性事件谋略

《孙子兵法》作为一部论述谋略智慧的军事巨著，在孙子“全胜”思想的指导下，主张通过认识战争规律来控制战局，用计策谋略来赢得战果。当下，公安机关根据群体性事件的特点，按照“以柔克刚、依法行动、注重实效”的处置原则，通常采用《孙子兵法》的“攻心”、“择机”、“拖延”和“就势”谋略，科学妥善的处置群体性事件。     

浙江民艺的保护与活化——以临安“天目窑”为例

‘Region’is the origin of Folk Art’s protection, local entities’ direct involvement and voluntarily protect is needed in the practice of Folk Art’s research and administration. This is the key factor of Folk Art’s inheritance, protection and exploitation. This article takes ‘Temmoku Kiln’ in Linan, Zhejiang as an example, through exploring its firing and using trajectory, propagation and communication, culture and religious connotation to study the countermeasures of ‘Temmoku Kiln’s protection and exploitation, and find the reference path for Folk Art’s development and traditional industry’s exploitation in other regions of Zhejiang Province.     

互动与双解:"电视艺术"辩证

电视是一类大众传播媒介;电视与艺术是互动的且密不可分的;电视艺术是一个带有非确指性的“双解”的概念。     

沿海十省(市)药品监管机构能力之比较研究

在构建社会主义和谐社会的当代中国,药品的安全性和有效性正日益引起人们的关注,而药品监管机构能力的建设与评估也开始成为社会监管领域的重要问题.通过回顾国内外已有的对政府能力概念和要素的研究,借用Nelissen的潜在能力和现实能力理论,结合世界银行2003年《世界发展报告》中对机构现实能力的要素分析和"行政储备"理论对机构潜在能力的要素分析,构建起药品监管机构能力的结构模型,并提出一套评估的指标体系.对数据进行标准化处理后,通过统计排序对沿海十省(市)药品监管机构能力进行评估和比较,进而利用最小二乘法(OLS)建立回归模型,分析潜在能力中的财力和人力因素对现实能力的贡献率.研究发现:地区财力对监管机构现实能力的影响较之人力因素要大,这在理论和实践中都可以得到证实;各地药品监管机构的潜在能力与现实能力之间存在较大差异,就那些现实机构能力较低的地区而言,现阶段有必要把工作重点放在医药企业生产经营行为的监管和农村地区医药监管基础设施的建设上;而对于潜在机构能力较低的地区来说,从"专业化、程序化和独立性"等方面提升机构整体的人力资源是当务之急.     

论增强基层公安机关领导的语言艺术

语言艺术是基层公安机关领导的学识、能力、价值观等多方面素质的综合反映.基层公安机关领导者增强语言艺术有利于激发广大民警的工作热情,创造和谐的环境氛围,缓解广大民警的身心压力等.基层公安机关领导应当加强自我修养,不断提升自身的语言艺术水平.     

新时期公安群众工作艺术刍议

在现阶段世情、国情、党情、社情深刻变化的背景下,群众工作也面临着诸多新情况和新问题.进一步加强和改进新形势下的群众工作,需要高超的工作艺术.公安民警对待群众要敬之以心、动之以情、晓之以理、惠之以利、束之以法、立之以信,为建立起适应公安工作需要的、符合时代特征的“警爱民、民拥警、警为民、民助警”的新型警民关系发挥积极作用.     

浅谈高职院校艺术设计专业的教改优化方案

大多高职院校开办艺术设计专业时,往往沿用传统的艺术教学方案,但高职培养学生的目的与大本和原来的大专不同,传统的艺术教学方案是不能适应现今高职教学要求的,所以优化原有教学方案,改进现今高职艺术设计专业教学模式,进而能培养出更加适应市场的人才。     

区域环境颗粒物污染特征研究

通过对北京经济技术开发区开展的大气环境和污染源监测,研究区域环境空气中颗粒物污染特征。根据不同功能区PM10(可吸入颗粒物)浓度空间分布特征和累积效应,表明区内道路扬尘和施工扬尘是该区域大气颗粒物的主要污染源。根据对道路边界的降尘监测,表明施工工地对道路扬尘的影响非常大。对于处于建设发展期的区域,加强施工扬尘和道路扬尘控制是保证空气质量的重要措施。