The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain's only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo's thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.

Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers.

The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain''s only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo''s thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.

Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain's only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo's thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.

The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain's only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo's thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.

Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers.

The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

The maintenance and effective use of cultural heritage involves important economic aspects yet the field of contemporary cultural policy is surprisingly void of comprehensive analysis from an economic perspective. Prominent academics and practitioners here fill this gap. They examine the theoretical background on the value of cultural heritage, consider policies from Italy, France, Britain and Japan and make concrete proposals for changes in cultural heritage policy.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain''s only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo''s thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.

Cultural Economics and Cultural Policies offers a unique guide to the state of the art in cultural economics. First, it alerts scholars and students to the necessity for careful definition and measurement of the `cultural sector'. Second, it affords examples of how economic analysis can shed light on the motivation of creative and performing artists and of artistic enterprises. Third, Cultural Economics and Cultural Policies widens the discussion of public policy towards the arts beyond general economic appraisal of arguments for government financial support. It does so by considering the government's role in defining property rights in artistic products and in regulating as well as financing the arts; examining how the criteria for government support are actually applied. Cultural Economics and Cultural Policies will be of interest to economists, students and policy makers.

Some years ago, when Principal and Professor of Economics at the infant Univer­ sity of Buckingham, Britain's only independent university, I was intrigued to receive an application, supported by strong recommendations from a Signora Ilde Rizzo, who wished to take some courses in public finance. As she was already an of Catania, noted for its expertise in the economics of Assistant at the University public finance, my colleagues and I brushed aside her modest request to attend undergraduate courses and enrolled her in our new graduate course. We also hoped that she might, in time, be able to gain experience in teaching and writing in English. Dr. Rizzo exceeded our highest expectations. She presented the first D. Phil thesis ever at Buckingham and defended it with consummate success. This work is a revised and extended version of her thesis, and it is a pleasure to congratu­ late Dr. Rizzo on its appearance, and also her publisher for recognizing its qUality. It will come as no surprise to the reader that Dr. Rizzo has already published extensively in Italian and also in English, but this is her first book in the latter language. I am glad to think that Dr. Rizzo's thesis arose out of our mutual interest in the question as to whether debt financing offered governments a major opportunity for maintaining the growth of public spending.